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//// Commentary


The Mipcom Content Triangle Mipcom is the major content business event in the world: about 13,000 people are expected this week in Cannes, among them 4,000 buyers; of these, about 1,200 are digital buyers. In addition to broadcast TV, Pay TV and digital platforms, the advertising, gaming and licensing businesses will be attending the gathering. Which are the most important tips to have in mind about this Mipcom? Imagine a triangle, with three main issues to work on. First, the global market will be sensed as healthy again, due to the digital boom that is propelling a lot of ventures. And the economic scenarios at many markets are better than in recent years. Central & Eastern Europe, for instance, is showing recovery signs for the first time since the 2008-2009 global slowdown.

Secondly, the business has changed forever after its hard recent times. No one spends money nowadays without checking several times if the investment is solid, if there is a concrete ROI, etc. It is no longer enough to possess a good brand or be a large company to conduct business; now, any player will compare the existing proposals by weighing the benefits of each alternative. Stereotypes and prejudices are weaker than in the past. And third, there are so many good content options available that relationships are more important than product nowadays. The major players visit emergent markets to get fresh ideas; the production standards are being improved worldwide; independents catch up to the majors, Europeans are actively competing against the U.S. producers, and so on. All this must be taken into account prior to signing long-term alliances, win-win deals, or opening markets. So? To thrive, the companies must work more efficiently, display harder efforts to keep both customers and partners pleased. Must invest in the market, build relationships, but at the same time check its own products and services one by one, not as a batch. True, the market is recovering, but it will be never easy again.

MIPCOM 2017 • AGENDA Event EventTV Azteca 25 Years Anniversary - Gala Dinner UHD: Mipcom’s Global Update Successful content in the Middle East Discover The Best New Drama Content From Latin America Media Mastermind Keynote: Domingo Corral, Movistar+ Fresh TV Formats (The Wit) Power shifts: who will take the throne of drama? The best of VR Content Beyond Co-productions: Making Global Creative Connections Cocktail Party – Mondo TV Group Cocktail Party – Paramount Global drama: it’s time for Africa! A New Era For Content And Partnership In Turkey Media Mastermind Keynote: Nick Bell & Sean Mills, Snapchat Cocktail Party – Eccho Rights Cocktail Party – RT France Party – Banijay Rights - Judas launch Party - Inter Medya Media Mastermind Keynotes Ricky Van Veen & Daniel Danker, Facebook Acquisition Superpanel — What do programmers want? Fresh TV Fiction (The Wit) Streaming piracy: can your business model survive? (Nagra) Personality Of The Year Keynote: David Zaslav Discovery Party - Grey Juice Lab 4 PRENSARIO INTERNATIONAL

Date & Time Oct. 15, 8.30pm Oct. 16, 9.45am Oct. 16, 10am Oct. 16, 12pm Oct. 16, 12.05pm Oct. 16, 1.45pm Oct. 16, 2.30pm Oct. 16, 2.50pm Oct. 16, 3.30pm Oct. 16, 5pm Oct. 16, 5pm Oct. 17, 9am Oct. 17, 10am Oct. 17, 5pm Oct. 17, 7pm Oct. 17, 8pm Oct. 17, 8pm Oct. 17, 10pm Oct. 18, 11.30am Oct. 18, 12.15pm Oct. 18, 1.15pm Oct. 18, 2pm Oct. 18, 2.30pm Oct. 18, 7pm

Place Majestic 4K UHD Theater Auditorium A Verriere Californie Grand Auditorium Grand Auditorium Esterel Auditorium A Esterel Booth Booth Auditorium A Auditorium A Grand Auditorium Carlton La Terrace La Terrace La Plage Grand Auditorium Grand Auditorium Grand Auditorium Verriere Californie Grand Auditorium Boat - Marina

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Disney revolutions the industry… again The Walt Disney Company shocked the market last August with two disruptive announcements: first, the acquisition of the majority of BAMTech that allows the Hollywood Studio to launch an ESPN-branded sport SVOD early next year and second, the conclusion of its distribution deal with Netflix to launch a standalone SVOD in 2019. Under terms of the transaction, The Walt Disney Company paid USD 1.58 billion to acquire an additional 42% stake and get control over BAMTech, a global leader in direct-toconsumer streaming technology and marketing services, data analytics, and commerce management, from MLBAM, the interactive media and Internet company of Major League Baseball. The transaction is subject to regulatory approval. Robert A. Iger, Chairman and CEO: ‘This acquisition and the launch of our direct-toconsumer services mark an entirely new

Since 2019, Toy Story 4,

as well as all future growth strategy for us, one that takes advanMarvel and Star tage of the incredible opportunity that chanWars brands will be exclusively distribging technology provides us to leverage the uted by Disneystrength of our great brands’. brand SVOD service He adds: ‘The media landscape Singapore, Malaysia-based SVOD company is increasingly defined by direct Iflix to bring its content closer to its Southeast relationships between content Asian audience. creators and consumers, and our The first wave of theatrical content headed control of BAMTech’s full array to Iflix’s new “channels” feature includes of innovative technology will give Marvel Studios movies Guardians of the us the power to forge those connecGalaxy, Captain America: The Winter Soltions, along with the flexibility to quicdier, Thor: The Dark World and Iron Man kly adapt to shifts in the market’. 3, as well as Pixar’s films such as Monsters The ESPN-branded multi-sport serInc, Monsters University, Up and Wall-E. vice will offer a robust array of sports Movies like Frozen, Wreck-It Ralph, Cars, programming, featuring approximately Lilo & Stitch, The Jungle Book and Cindere10,000 live regional, national, and interlla also bow on the service. national games and events a year, including Additional titles expected from January MLB, NHL, MLS, Grand Slam tennis, and co2018 include Star Wars: The Force Awakens, llege sports. Individual sport packages will also Captain America: Civil War, Ant-Man, The be available for purchase, including MLB.TV, Jungle Book, Zootopia, Tangled, Finding NHL.TV and MLS Live. Dory, Finding Nemo, The Incredibles!, InsiOn the other hand, the new Disney-branded de Out and The Good Dinosaur. Meanwhile, service will become the exclusive home in the Disney TV series including Disney Junior’s US for SVOD viewing of the newest live action Sofia the First, Disney Channel’s Star Wars and animated movies from Disney and Pixar, Rebels and Disney XD’s Guardians of the beginning with the 2019 theatrical slate, which Galaxy will also be offered to Iflix users. includes Toy Story 4, the sequel to Frozen, and The SVOD, which currently reaches 1 The Lion King from Disney live-action, along billion consumers in 19 Asian, MENA and with other highly anticipated movies. Sub-Saharan African territories, is also set The Studio will also make a significant into co-produce an exclusive, original project vestment in an annual slate of original movies, in collaboration with Disney’s multi-channel TV shows, short-form content and other Disneynetwork subsidiary Maker Studios. branded exclusives for the service. Additionally, the service will feature a vast Disney’s operating incomes, by segments collection of library conIn Billion of US Dollars (1Q15-3Q17) tent, including Disney and Pixar movies and Disney Channel, Disney Junior and Disney XD TV programming. Weeks after pulling out of its distribution deal with Netflix in USA, Disney secured a wide-ranging agreement with Robert A. Iger, Chairman and CEO, The Walt Disney Company


Source: The Company/Market Realist


ICFLIX, UEA: ‘Thinking outside the box’ Established in 2012 by Carlos Tibi, founder and CEO, ICFLIX is Middle East and North Africa’s streaming and VOD platform that provides Jazwood (Arabic content), Hollywood and Bollywood movies, TV series, documentaries and kids animation. During 2014, the company announced the launch of the App ICFLIX kids on Samsung devices while in February 2015 it launched the payment by text message for its Moroccan subscribers and by credit card for its Tunisian viewers. ‘Since our launch three years ago, we have already had over 1.5 Million registered users across the MENA region, a number growing by around 25% month over month in key markets like Morocco, Egypt, Kuwait, United Arab Emirates, Tunisia and Kingdom of Saudi Arabia’, describes Tibi. According to the executive, the number of connected devices such as tablets and smart TV’s is fueling the demand for OTT because consumers love the convenience and accessibility of being able to watch what they want, when they want, and where they want. ‘With infrastructure improving and Internet speeds picking up, people want high quality video on any device and a seamless experience that carries across all their devices’. Some keys for this expansion rely on strategic partnerships with many local Telecom ope-

rators to becoming their video-on-demand arm for them (most recently with Orange Egypt and Saudi Telecom). ‘Spreading the word has seen some unusual efforts made by ICFLIX as well. From a Pizza Hut campaign that gave away a 24-hour access code with each delivery, to special offers to Visa Card holders and Du customers and with Uber and HelloFood. Clever marketing channels always pay off. We try to think outside the box rather than focusing only on traditional marketing’. Regarding content, the platform has 15,000+ hours across Jazwood, available worldwide; Hollywood, only for MENA across 24 countries, and Bollywood, worldwide excluding India, with titles from 2017 back to 1941 ranging from action, drama, thriller, sci-fi, romance, comedy, documentaries and kids animation. ‘ICFLIX’s success led us to bigger ambitions and to create our own theatrical movies. HIV went online in October 2014 and was the first Arabic film to portray the story of the disease and its impact on the social settings of those infected. This was followed by the release of AlMakida in late December 2014, a police thriller produced in Egypt by a team of fresh talents’, emphasizes the executive in terms of original content. The company also co-produced its first Tunisian feature Chbabek El-Jenna (Borders of Heaven) and launched its first animated TV series, Dunia, introducing the first Arabian teen female superhero. The social comedy WOH! is ICFLIX’s second original Jazwood, also produced in Tunisia. ‘We are also currently producing our first original Moroccan feature, Burn Out with award winning director Noureddine Lakhmari, which will be final installment of the trilogy following the blockbusters Casanegra and Zero’. ‘There is always a constant demand for local content. We want to ensure that we cater to the needs Carlos Tibi, founder & CEO


Dunia, first animated TV series produced by ICFLIX

Burn Out, original feature film from Morocco

of the local market and provide content producers a platform and opportunity to express their art and creativity and allow them to grow and exist in the market’, remarks. And regarding the future he adds: ‘We’re going to have many strategic partnerships, whether with telecom operators, content providers or our own original productions. We will further strengthen ties and partnerships with OEM’s like Samsung, LG, Humax and Sony. As Internet speeds improve across the region the more people become more aware of our service. We can now deliver 4K streaming at the best bandwidth to visual quality ratio compared to any other OTT service in the region’. ‘We are continuously enhancing our user experience through our website and native applications to meet the demands of a rapidly growing market and deliver the best user experience possible’, concludes Carlos Tibi. MENA: SVOD market share in 2022


17.2% ShowMax

5% 17.2%

iRoko 8%

Starz Play

7% 9% icflix



//// REPORTAJE PREMIUM / Broadcasters

Canal Uno, Colombia: ‘Potenciar la TV abierta con una propuesta diferente’ Lanzado a comienzos de agosto de este año, Canal Uno (Colombia) apuesta por convertirse en ‘una oferta programática diferente dentro de un mercado ya establecido’, según describe su presidente Felipe Boshell. Durante la primera semana, la señal de Plural Comunicaciones registró un promedio de 5% de market share diario, con picos de 8% y mejorando sus índices en todas las franjas. ‘Sabemos que se trata de un proceso a largo plazo para que la audiencia nos siga descubriendo, cambiando sus hábitos. Estamos tranquilos y convencidos que con la propuesta que traemos iremos creciendo’, explica. De acuerdo con el ejecutivo, la estrategia se basa en la diferenciación a la hora de pensar la programación del canal y la fuerte apuesta por el producto nacional en directo, con más de diez horas diarias de emisión en vivo y más del 80% de producción local en el prime time, incluyendo la primera serie original del canal, Infieles (Fox Telecolombia). ‘Traemos productos diferentes a horas diferentes. La oferta de producto nacional es muy reducida porque nuestros competidores cuentan con una grilla similar en términos de género. Por ejemplo, cuando los otros canales tie-

nen novela, nosotros presentamos magazine en vivo o realities de competencia como Guerreros’. Una de las problemáticas que se planteaba en los últimos años en relación a la aparición de un tercer canal abierto en el mercado colombiano estaba relacionada con la disponibilidad de una cuota publicitaria que pudiera llegar a ser insuficiente para dicha competencia. Pero según el propio Boshell, ‘existe una oportunidad de traer Guerreros, formato original de entretenimiento una propuesta alternativa y fresca capaz de atraer tanto a nuevos anunciantes como reactivar la tiene una ventaja: ‘estamos en un contexto TV abierta en el mercado local, que hoy integra en el cual nacemos con los nuevos hábitos a cerca de 50 millones de habitantes’. ‘Con una y nos permite ser una alternativa para los operación eficiente podemos lograr un modelo colombianos, con una producción diferente económico muy importante’, señala pero destaca fresca y novedosa’. a su vez que se trata de un proceso dentro de un ‘Colombia es un país muy grande, muy plan que tiene como plazo mínimo los 10 años. diferente y con regiones muy marcadas con ‘Hoy en día es más difícil concentrar y fidehábitos de consumo muy distinto. Productos lizar audiencia en la TV abierta, pero este lanque funcionan muy bien en un área puede no zamiento va a ayudar al consumo en general, presentar los mismos resultados en otras. Yo trayendo a aquellos que se fueron al digital o al creo que el gran reto de los canales en Cocable por no encontrar una alternativa’. lombia es ese; tenemos que ser más cercanos Sobre distribución de contenidos y señales: a los televidentes e interactuar más’. ‘Uno de nuestros socios es Hemisphere, lo que ‘Queremos sumar audiencia a través de nuesnos brinda gran presencia en el territorio y lo tros productos y pensar siempre diferente a la convierte en aliado estratégico a la hora de penoferta que hay hoy en día. También tenemos sar en proyectos que se puedan explotar no solo acuerdos con los Studios de Hollywood para a nivel local sino también regional. Con Siemvolver a traer los éxitos que se dejaron de traer a pre estamos mirando a la región y al mundo en Colombia y seguimos buscando alianzas y nuesu conjunto a nivel productos, pero como canal vos acuerdos en la región’, completa. Composición accionaria del consorcio Plural Comunicaciones todavía tenemos mucho por transitar y tenemos que tener una consolidaComposición accionaria ción y una audiencia que nos resdel Consorcio Plural Comunicaciones palde. Tenemos los dos enfoques’, asegura el ejecutivo. Además de enfrentarse a un 20% mercado establecido y competitivo, Canal Uno se encuentra en un nuevo contexto de medios al cual debe acoplarse rá40% pidamente, enfatiza Boshell y remarca que 20% en el plan de negocio del canal ‘hay una propuesta con un área digital muy integrada al lineal’. ‘Es una apuesta a largo plazo pero sabemos que los hábitos de 20% consumo cambian constantemente y Radio Televisión Interamericana (RTI) estamos iniciando con eso en mente’. Pero para el presidente de Canal Compañía de Medios de Información (CM&) Uno ser un canal joven también Nacional de Televisión y Comunicaciones (NTC) Felipe Boshell, presidente


Hemisphere Media Group

//// PREMIUM INTERVIEW / broadcasters

1+1 Media, Ukraine: digital, Pay TV & co-productions 1+1 Media is one of the biggest media groups in Ukraine with a number of different businesses on different platforms. The group is not only about TV channels, of which it operates seven, but also about digital. It also includes the pay TV company Viasat, a news agency, outdoor company, among others. ‘So in fact, we are presented in different media spheres’, highlights to Prensario Oleksandr Tkachenko, CEO, who continues about the top programming and content trends: ‘Our strategy differs depending on the channel, because their audience is different. Now we are focused on production with limited execution for abroad. Mainly these products are made for our channels like TET and 2+2. For 1+1 the program schedule consist almost of 80% of locally produces shows, both series and entertainment shows and views. The

number of a series production for 1+1 media in 2017 is 72 hours’. What are the local viewers watching on Free TV? Tkachenko answers: ‘What we observe is the increasing number of other TV viewers. It is mean that proposition is quite high here. It’s not only about number of channels in four leading media groups, but it also different independent TV channels, pay TV segment, development of free to air digital. But, definitely the expectations of the audience lays first on the local series production, second big entertainment shows and third, about news. Digital media is reshaping the traditional TV industry. How is that process-taking place in Ukraine: ‘We are working hard in our digital strategy, and our approach changed a lot since last year. We have re-launched our VOD platform from OVVA into 1+1 Video, and we expect increasing revenues from here’. ‘But the issue that despite we see how the habits especially of younger generation changes from free to air to digital world. It’s a question how to monetize it. Because the prices in this field still are quite low and we need to make a lot of efforts still to fight pirates. ‘Our main goal is to increase now our revenues from pay TV segment. And here we expect new industrial initiatives like encryption of satellite viewing and switch from the analog to digital free to air broadcasting’, stands Tkachenko. And he concludes: ‘As for co-productions, we expect to have at least two or

three big examples. We are already developing some projects with our polish partners in the field of entertainment reality shows, but also have some projects about satirical films and series.

Big entertainment projects on 1+1 Media: The Voice Kids 4, Dance with the star and Model XL

Ukraine: average audience share 18-54, per network (August 2017)




Inter 1+1

8.2% 7.05%




4.72% 3.91%




A Million Euro Village, a comedy series about three cousins that have to leave a year in a village for the sake of an inheritance Oleksandr Tkachenko, CEO at 1+1 Media 14 PRENSARIO INTERNATIONAL








//// PREMIUM INTERVIEW / Broadcasters

ABS-CBN empowers the audience ABS-CBN Corporation is the Philippines’ leading media and entertainment organization with four business segments that span both domestic and international markets: the media networks and studio entertainment, Sky Cable, Digital Publishing, and Consumer Products. The leading FTA and VHF channel ABSCBN scored an average audience share of 46% in combined urban and rural homes last June compared to GMA with 34%, according to Kantar Media. In Mega Manila its share increased to 36% in 2017, compared to 30% in 2015, as more households are able to experience crystal clear viewing experience with the STB ABS-CBN TVplus, which has already sold 3M boxes nationwide and significantly boosted the TV channel ratings. It also operates a UHF sports and action channel, radio stations, DTT network, eight Pay TV channels and Star Cinema, a leading feature film studio. Sky Cable is the largest cable network in the country providing both cable channels and broadband services across the country, and it has recently launched its DTH Sky Direct, which has helped cover non-cabled areas in the Philippines. ABS-CBN is also the largest digital publisher. ABS-CBN Mobile is a MVNO that launched in late 2013, and

Series Brothers showed an average national TV rating of 37.3%

digital-only content’, completes Katigbak. is a key component of the digital push. iWant Among the top shows were the action series TV (domestic) and TFC.tv (international) are Brothers with an average national TV rating the online OTT platforms of the company. of 37.3%: ever since it launched back in SepOn the consumer products and experientember 2015, the show has been the undefeaces side, it holds the local licensee of Kidted #1. The fantasy drama La Luna Sangre, Zania, an indoor family entertainment cenwhich scored an average national TV rating ter. ABS-CBN Events is one of the largest of 34.8%: it is the third installment of ABSconcert and events groups. CBN’s hit Imortal saga following She-Wolf: Carlo Katigbak, CEO, explains: ‘UnThe Last Sentinel. And Wildflower, which derstanding our audiences is key in the busikeeps stronghold of its viewers last month ness of content creation. We need to be able with an average national TV rating of 23.9%. to inspire people to become the best that The network proves to be a leader in locathey can be. We want to empower and enable lizing worldwide hit shows as its adaptation them to improve their lives. Everyday, our of The Voice Teens that ranked third in the top audiences welcome us inside their homes ten and scored a national TV rating of 34.2% through our content. This has given us the nationwide. This is the first teen edition to be privilege to get to know their dreams, hopes, mounted in Asia and second in the world fofears, and aspirations in life, which we use llowing Colombia’s La Voz Teens. to connect with them on a deeper level. About the future, he completes: ‘Regardless ‘With over 60 years of experience in of platform or technology, it will always be storytelling, we have come to know that our about understanding and serving our audiences audiences are looking for content with strong and a continued focus on content and content family values and authentic characters, who creation that will carry any content company best represent them, they can relate to, reflect into the future. Our brand is one of the most their authentic lives, and who show the resitrusted in the country and our public service lience of the Filipino people’, he adds. efforts are a cornerstone of who we are’. Regarding digital, he remarks: ‘Our focus will Katigbak concludes: ‘We remain focucontinue to be on content creation but with an sed on all these together with the continued eye towards a bigger presence across all digital growth and development of our employees platforms. This focus on content includes new and talents. We welcome opportunities for content for new audiences that are younger and partnerships, co-productions, and expansion. digital-born. Apart from our very successful onGrowing our new businesses remains a focus line sites and apps, we have seen tremendous of the company as the country shifts towards success for iWant TV, our OTT platform. digital television and better mobile Internet’. It has complemented the on-air world by providing a strong catch up service and mobile viewing of the live stream, The Philippines: audience share, by networks which is very helpful given the com50 mute times in the Philippines’. ‘We’ve also started experimenting 40 with multi-view streams for our 30 sports properties to complement the on-air coverage. We’ve moun20 ted digital-only concerts for our music group and 10 also created digital-only complementary episodes 2H 12 2013 2014 2015 2016 1H 17 Studio 23 ABS-CBN Sports + Action ABS-CBN GMA TV5 of our shows as well as GMA News


Source: Kantar MEDIA

Other FTA


//// main report By Nicolás Smirnoff

Mipcom 2017: ups & downs at the multiplatform era Evolution is not always ahead, but also pendulum The last big content events —MIPTV, LA Screenings— have shown a positive outcome, with active attitude from buyers and varied product to attend the requests of new media ecosystem. Local content is always a big main goal, but programmers are also determined to refresh their screens with non-traditional product and to reduce costs with business twists. Clever solutions are wanted. These take place at non-scripted and scripted segments, pushing both formats and readymade contents.

Hollywood moves Amazon Video global buying team, with actor David Boreanaz (CBS’s Seal Team). Among them, Tyler Bern, TV content acquisitions; Ani Maftvani, acquisition director; Chris Monsollilo, principal content acquisitions; Danae Kohenos, content acquisition for U.S.; Philip Pratt, senior content acquisition manager Germany, and Pablo Iacoviello, head of content acquisitions for Latin America

The OTTs are now big buyers of content business, both for ready made and production matters. Everybody wants first window, exclusive content

Mipcom is always the main worldwide parade of content business. How does it come this 2017? It promises to be potent. Media ventures show good inertia due to the digital push, and also many economies are getting better, both at central and emerging territories. Though recent big karmas of business continue present —production cost crossroads, flat ad pies, etc.— there are many veins to innovate and to surpass oneself these days. The big challenge is to concrete (and monetize) them.

• Keep traditional icons: doctors, lawyers, cops • With twists in the way of narration, new lateral themes • Insertion of technology to reinforce classic tasks • Super-natural on top, military series emerge • One stop shopping for free TV, pay TV and OTT buyers

Tips & kinds of buyers • Premium cable and OTT buyers compete for the same product • Free TV buyers suffer to be at back of the windows row • Everybody wants exclusive content • Business is up about the three buyers • Market is open for non-traditional product

Sheisha Wu and Angela Luang from Disney, Lorraine Leach, content and alliances director at Huawei; Trista Chang, from Disney, and Megan Fu, business development, and Sofia Zhang, video coordination director, both at Huawei

Tech titans already buy contents, and push media industry members to new tech environments which must be followed

At LA Screenings last May, Hollywood studios’ new series mainly insisted on their traditional icons —doctors, lawyers, cops— and the twists go through the way of telling, new lateral themes and especially, the insertion of technology to reinforce old tasks: to save patients, catch killers, etc. Also, the super-natural stories continued having a good role, while the news were military series, which were much more than in the past, some good and some not. The market is clearly divided now in three types of buyers: free TV, pay TV and OTT. Most of Hollywood studios have taken as strategy to be a ‘one stop shopping’ provider, with products for each segment. They produce TV series for OTTs, premium series por VOD cable, classic series for basic cable, local content and entertainment formats for free TV. The hardest fight takes place between premium cable and OTTs, which compete for the same best, original, exclusive content. Free TV players suffer to be at the back in the windows row, and about advertisement pies being shared more and more with the new media. Fortunately, business traffic is up at the three kinds of buyers. Everybody has the obligation to evolve within the new media picture. Some produce, others look for finished product from new providers, etc. This way, we see even at bigger players, content from non-traditional origins, independent films and unusual genres. Co-production ventures are a great way of getting original content, reducing costs and opening markets. Broadcasters, Pay TV and OTTs love them. But we see other ways. About entertainment, they promote

Mipcom 2017: altas y bajas en la era multiplataforma La evolución no siempre es hacia delante, puede ser pendular Mipcom es siempre la principal parada mundial del negocio de contenidos. ¿Cómo viene la edición 2017? Promete ser potente. Las iniciativas de medios muestran fuerte inercia ante el boom digital, pero además varias economías están levantando, tanto en los mercados centrales como periféricos. Pese a que los grandes karmas del mercado siguen presentes —alzas de costos de producción, tortas publicitarias flat— hay muchas vetas para innovar y superarse por estos días. El gran desafío es concretar —y monetizar— estas chances. Los últimos grandes eventos de contenidos —MIPTV, LA Screenings— han mostrado un positivo balance, con actitud activa de los buyers y variado producto para atender las exigencias 20 PRENSARIO INTERNATIONAL

del nuevo ecosistema de medios. El contenido local es siempre una principal meta, pero los programadores hoy también priorizan refrescar sus pantallas con contenido no tradicional y reducir costos. Soluciones ‘inteligentes’, vueltas de tuerca en el negocio, se requieren. Esto ocurre en scripted y non scripted, promoviendo tanto formatos como contenidos terminados. En los LA Screenings de mayo, las nuevas series de los estudios de Hollywood insistieron con sus tradicionales íconos —doctores, abogados, policías. Las vueltas de tuerca estuvieron en el modo de narración, nuevas temáticas laterales y especialmente, introducir tecnología para reforzar viejas tareas: salvar pacientes, atrapar criminales, etc. Además, las historias sobrenaturales siguen teniendo un rol protagonista, y la novedad son las series de militares, que son muchas más que antes.

Televisa y Univision: Adrian Ortega Echegollen (T); Ramsey Elia (U), Carlos Bardasano (W Studios), Patricio Wills (W Studios), Lourdes Diaz (U), Andrés Mendoza (U); Gerardo López Gallo (T), Ana Lidia y Karina Montoya (Televisa Networks), Luani Pellot (U) y Moisés Velez (U)

Los grandes broadcasters de América Latina buscan no sólo mantener sus audiencias, sino también ser más rentables y pisar fuerte en la era digital

German and Austrian buyers at MIPDrama Screenings last MIPTV: Mag. Irene Hschl, head of film and series, ORF (Austria); Sebastian Luckel, managing editor, international fiction, ZDF (Germany); Marcus Ammon, SVP, film & entertainment, Sky Deutschland; Andrea Bogad-Radatz, SVP, films & series, ORF; Ruediger Boess, SVP, acquisitions, ProSiebenSat (Germany); and Isabelle Fedyk, VP, Marketing and PR, Bavaria Productions

Japan: Norihiko Nishi, content manager, and Aki Kou, acquisitions, both at Nippon TV, with Harry Tanaka from Disney and Kazufumi Nagasawa, Chief Content Officer, Hulu Japan

‘Big dramas’ fever has came to stay. The digital new systems will require more and more fictions, especially premium ones and franchised-hits to captivate audiences

Some Asian countries, especially Japan, are generating ‘out of the box’ entertainment formats, embracing technology properly. More production alliances with them are suggested

production hubs in convenient countries. For Lionsgate’s Candy Crush Saga, Spanish La Competencia has set up a hub in Spain, to feed Europe. For Endemol Shine’s The Wall, to be aired in U.S. network NBC, a Polish hub El mercado está claramente dividido en tres tipos de buyers: free TV, pay TV y OTT. La mayoría de los estudios de Hollywood tiene como estrategia ser un ‘One Stop Shopping’, brindando productos para cada segmento. Producen series para OTT, premium series para cable VOD, series tradicionales para cable básico, contenido local y formatos de entretenimiento para free TV. La competencia más dura se da entre premium cable y OTT, porque aspiran al mismo producto top, original y exclusivo. Los free TV sufren estar a la cola de la fila de ventanas, y que deben compartir cada vez más las tortas publicitarias con el new media. Afortunadamente, el ritmo de negocios crece en los tres tipos de buyers. Todos tienen la obligación de evolucionar ante el nuevo escenario de medios. Algunos producen, otros buscan producto terminado de nuevos proveedores, etc. De esta forma, vemos incluso en players grandes, contenido de orígenes no tradicionales, films independientes y géneros inusuales. PRENSARIO INTERNATIONAL 21

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providers. Second, about genres, the big game shows are back at the European prime time, due to interactive scenarios: multi-monitor walls, shiny floors, etc. Candy Crush, The Wall and Talpa’s Five Gold Rings have been mentioned from MIPTV as three formats that lead the trend. ‘Playgrounds are clever now’, it was stressed. On the other hand, the ‘Big dramas’ promise to enlarge their great moment. The pre-show MIPDrama Screenings was a huge success at MIPTV, and a good part of the event was flagged around. The digital

Head programmers of Turner worldwide: Marianne Lee, VP network, Ricky Ow, TV channels president, both for Asian Pacific; Giorgio Stock, president for EMEA; Josef Audorfev, adviser; Tomás Yankelevich, new EVP & CCO for Latin America; and Gerhard Zeiler, president, international

Turner and other Pay TV heads are promoting coproductions with broadcasters and OTTs, with simultaneous releases in the three screens

was chosen. About fiction, they shoot in territories with tax incentives. USA usually shoots in Canada and Latin America; Spain in Canarias Islands; France in Belgium; etc. New global trends? Paper formats are steadily back. There is a so strong need for fresh content, that players don’t ask proven products any more. If they are proven, they are not fresh. This opens good opportunities to new ideas and

Los proyectos de coproducción son una gran forma de acceder a contenido original, bajando costos y abriendo mercados. Los broadcasters, Pay TV y OTTs los anhelan. Pero hay otras vetas. En entretenimiento, promover hubs de producción en territorios convenientes. Para Candy Crush de Lionsgate, la productora española La Competencia ha establecido un hub en Madrid, nutriendo a toda Europa. Con The Wall de Endemol Shine, se estableció un hub en Polonia para la versión que emitirá la U.S. network NBC. Sobre ficción, se busca filmar en territorios con incentivos fiscales. USA suele rodar en Canadá y América Latina, España en Canarias, Francia en Bélgica, y así… Nuevas tendencias globales? Los paper formats están de regreso con fuerza. Es tanta la necesidad de producto fresco, que

Caracol, Colombia: Camilo Acuña, VP programación; Catalina Porto, EM Production, Marcela Montoya, programming director, Dago García, Production director, Guillermo Toro, Production, y Karen Juliao Macchia, jefe de alianzas y patrocinadores 24 PRENSARIO INTERNATIONAL

Colombia es un ejemplo de mercado que se ha desarrollado para exportar contenidos. Hoy compite por lugares en free TV y pay TV de los territorios más exigentes

Buyer twists to down production costs • Co-production projects on top • Production hubs on convenient territories for entertainment • To shoot fiction in countries with tax incentives

New global trends • Paper formats are steadily back, looking for freshness • Big game shows take European prime time, with clever playgrounds • ‘Big dramas’ enlarge their great moment

los buyers ya no preguntan si el producto está probado. Si está probado, no es fresco. Esto abre buenas oportunidades a nuevas ideas y proveedores. Segundo, sobre géneros, los grandes game shows están de regreso en el prime time europeo, pero con escenarios interactivos: paredes con multimonitores, pisos brillantes, etc. Candy Crush, The Wall y Five Gold Rings de Talpa han sido destacados desde MIPTV como tres formatos que lideran la tendencia. ‘Las zonas de juegos son inteligentes ahora’, se resalta. Por otro lado, los ‘Big Dramas’ prometen extender su gran momento en Cannes. El preshow de MIPTV, el MIPDrama Screenings, fue un gran suceso, y una buena parte del evento se embanderó en torno a ellos. El boom digital consume básicamente ficción —películas, series— y está apenas co

Sony, de izq. a der. y girando con la mesa: Katia Murgel, VP programming y adquisiciones, Carolina Padula, directora de adquisiciones, Natascha Rengifo, VP & GM, Networks; Alberto Niccoli Junior, VP Senior & GM, Canales Brasil; atrás, Eduardo Arias, acquisitions and programming LA & Brazil, Carlos Lopez, director de programación Channels, México, José Hidalgo, VP y GM Channels, México; completa sobre la izq. Michael Fasshenden, TV Record Brasil

Los titanes Pay TV promueven contenido original tanto para cable premium como para cable básico. Cada nivel de negocio debe diferenciarse

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boom consumes basically fiction —movies and series— and it is just starting. More and more product will be needed, claiming traditional and new players for original fiction.

Current challenges for the future • To evolve deeper onto tech era • To launch multiplatform content labels • New generation contents • Full new media thinking • New television & content watching systems

Pendulum evolution • To do the opposite from most of others do • To recover former production technics • Former periods of TV evolution • To take old values with current potential • Non-traditional, non-conventional contents • Not one world for other, the best of them together

menzando. Se necesitará más y más producto, clamando por ficción original tanto players tradicionales como nuevos.

El futuro espera

Observando los desarrollos de computadoras y smart phones, la industria de contenidos necesita evolucionar mucho más profundo en la nueva era tecnológica. Algunos estudios de Hollywood, por mencionar ejemplos gruesos, hacen lo mismo que hacían 10 años atrás. Si bien hoy llevan series para OTTs, su evolución es apenas latente en verdaderos productos multiplataforma, short content, web series, redes sociales, etc. No hay divisiones especiales, que brinden prioridad y continuidad de producto. Disney con FreeForm, es un buen caso a seguir.

Jorge Balleste, VP programming & acquisitions de NBCUniverso; Migdalis Silva, VP de programación de Nickelodeon; Mercedes Reincke, gerente de contenidos de Telefe; Tatiana Rodriguez, SVP programming, Nick, y Marimar Rive, VP communications, de Viacom 26 PRENSARIO INTERNATIONAL

De a poco crecen los ejemplos de titanes de Pay TV que compran canales abiertos fuertes para generar sinergias de medios y contenidos. Glocal.

Chinese Broadcasters: Qian Xiao, program production, Leoh Li, content acquisitions, and Yu Song, VP content development, all from Dragon TV; Sherry Tan, diector of the agency CAA, China; Ying Zhang, from CBS; and Qing Wang, acquisitions form SMG, China

Chinese market has very strong potential for formats and production, but local laws that limit international licenses and activities, are an obstable to solve

Future is waiting

Watching computers and smart phones developments, content industry needs to evolve deeper onto new tech era. Some Hollywood studios, to mention big examples, continue doing the same as 10 years ago. Though today they handle products for OTTs, their evolution is just latent about real multiplatform contents, short content, web series, social network products, etc. There is no launch of separated labels, to assure product feed. Disney has FreeForm, as a good case to follow.

Los titanes de formatos, sobre todo los europeos, están teniendo buenas experiencias sobre introducir tecnología, en especial con formatos como los ‘shiny floor’ que mencionamos arriba. Mike Beale, EVP global development en ITV (UK: ‘Los game shows están de vuelta con un twist original: escenarios inteligentes, con gente real haciendo cosas reales y discutiendo situaciones reales. También variamos las técnicas de producción y los períodos de evolución de la TV’. Lisette Van Diepen, VP de non-scripted format acquisitions, Sony (USA): ‘The Wall es muy original. Los entornos son listos, brillantes… rápidos y furiosos’. Vivian Yin, CEO en Fremantlemedia China: ‘Es fascinante cómo la tecnología está cambiando la experiencia del usuario de TV. Tenemos Lost in time, por ejemplo; es contenido de nueva generación, una nueva forma de pensar new media’.

Elie Wahba, Fox (centro) rodeado por Juan Ignacio Vicente (Mega Chile) Nicolas Acuña (Chilevision) Isabel Rodriguez (TVN Chile) Jaime de Aguirre (TVN) y Rodrigo Díaz (Chilevision). Abajo: Marcel Brennand, Rebeca Abrabanel y Richard Vaun, todos de SBT (Brasil)

Chile ha sido precursor tanto en exportación de formatos como adoptar contenidos no tradicionales del exterior. Hoy busca un balance y optimizar estructuras.

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Fox Networks Group, Central & Eastern Europe: Olga Zhurova, head of channels, Ribere Lia, head of programming, Vessela Dimitrova, programming director, Balkans, Yadigar Metin Belbuken, VP of Thematic Channels, Turkey

According to Central & Eastern Europe broadcasters, the TV market is for the first time up in 6-7 years, pushed by Russia and Ukraine. But even Greece is 10% better

Source: Hootsuite

En el MIPTV, Samsung Electronics y Rakuten Wuaki (España/Japón) lanzaron TV Plus, un sistema híbrido entre TV lineal y TVOD para smart TVs 4k UHD. El servicio, disponible al prin-

Cristina Claveria, content director, Daniel de Simone, director de contenido de Multicom (USA), Damián Craimowicz, adquisiciones para Latinoamérica, todos de Grey Juice Lab; Guillermo de Lorenzis, jefe de comunicación de contenidos, Nestor Lasko, director de contenidos, y Felipe Becerra, jefe de contenidos, todos del MSO argentino Fibertel; Kelly Blanco, directora de contenido original, y Mihai Crasneanu, CEO, ambos de GJL 28 PRENSARIO INTERNATIONAL

Cada vez hay más buyers digitales en América Latina. Surgen 3-4 OTTs de relieve por año en los mercados más grandes. Monetizar, el desafío

Format titans, mainly European ones, are facing good experiences about tech introduction. Especially, with the shiny floor entertainment formats we’ve mentioned above. Mike Beale, EVP global development at ITV UK: ‘Game shows are back with an original twist: intelligent scenarios, with real people doing real things and discussing real situations. We vary also production technics and periods of TV evolution’. Lisette Van Diepen, VP of non-scripted format acquisitions, Sony (USA): ‘The Wall is very original: the environments are clever, shiny, fast and furious’. Vivian Yin, CEO at Fremantlemedia China: ‘It is amazing how technology is changing TV viewer experience. We have Lost in time, for instance: it is next generation content, a full new media thinking’. At last MIPTV, Samsung Electronics and Rakuten Wuaki (Spain/ Japan) launched TV Plus, a hybrid system between linear TV and TVOD for 4K UHD Smart TVs. The service, available at the beginning in 12 European countries, allows users to navigate and access premium movies straight to TV, including 4k HDR channel (6.99€), new releases and kids (4.99€). There are many veins to innovate. But not always going ahead. Some times, the secret is to do the opposite from what most of companies do, evolution can be linear but also pendulum. Turkish series gained market stressing the most traditional values of Latin Telenovelas: love, hate, etc. European big players like to produce classic genres that U.S. studios left behind. Prensario continues being very successful with print editions, because most of the media market has moved to digital. For us, the strategy is to have maximum development in the two worlds, and to take the best of them. For the content industry as a whole, almost everything is to be done at the multiplatform era. This Mipcom is an important step to short this gap. ‘Keep moving forward’, it was said in Meet the Robinsons, a Disney’s very fresh animated movie, about how to deal with innovation. The definition of ‘schizophrenia’ is to do always the same and to expect different results. ‘Innovation’ is to do new things to get new goals. Come on.

cipio en 12 países europeos, permite a los usuarios navegar y acceder a contenido premium directo en la TV, incluyendo 4K HDR channel (por 6,99€) y nuevos estrenos y niños (4,99€). Hay muchas vetas para innovar. Pero no siempre hay que ir hacia delante A veces, el secreto es hacer lo opuesto a la mayoría. La evolución puede ser no sólo lineal, también pendular. Las series de Turquía ganaron mercado tomando los valores más tradicionales de las telenovelas de América Latina: amor, odio, etc. Los grandes players europeos gustan de producir géneros clásicos que los U.S. estudios han dejado atrás. Prensario continúa siendo muy exitoso con sus ediciones impresas, porque mucho mercado de media se pasó a digital. Para nosotros, la estrategia es tener máximo desarrollo en ambos mundos, para tomar lo mejor de cada uno cuando se necesita. Para la industria de contenidos como conjunto, en la era multiplataforma casi todo está aún por hacerse. Este Mipcom puede ser una importante parada para acortar la brecha. ‘Mantente moviéndote para adelante’, decía Meet The Robinsons, una muy inteligente película de Disney, sobre cómo llevar la innovación. La definición de ‘Esquizofrenia’ es hacer siempre las mismas acciones y esperar resultados distintos. ‘Innovación’ significa hacer cosas distintas para metas nuevas. Adelante.

//// SPECIAL reports / buyers

What do buyers want at MIPCOM 2017?

1) Editorial Strategy 2) What type of programmes are you looking for and genres? 3) What territories do you buy from?

Prensario publishes this special survey made by Reed Midem about what the top buyers from Europe, America, MENA and Asia-Pacific are looking for at MIPCOM 2017:

Nick Lee Acquisitions Manager Channel 4 (UK)

Luca Oteri Content Acquisition manager, Telecom Italia (VOD)

1) Channel 4 has quite specific tastes for acquired drama. Shows need a distinctive tone and to somewhat fit with our off-centre and risk-taking brand values. Being able to play alongside our current premium UK origination slate and premium US cable/network shows is essential. 2) Mini Series One-Off-Drama Soap / Sitcom Crime Comedy Thriller / Horror / Fantasy Sci-Fi Period Drama Action 3) Europe

1) We look for the best Dramas dubbed in Italian (preferable). We’re interested in both Library Series and New Series to be premiered via our SVOD Service (TIMVision), mainly targeted to broadband customers. We offer successful Dramas but also a growing selection of series/seasons never aired in the territory. 2) Feature Films, Miniseries, Mobisodes / Webisode, One-Off-Drama, Soap / Sitcom, TV Movies 3) Europe

Mignon Huisman Head of series acquisitions, NPO (The Netherlands) 1) As a public broadcaster, we are looking for interesting original programs for our linear and digital channels. Each one has different characteristics and audiences, so we are searching in many directions. Fortunately there are many great series being produced at the moment and they work well for us. 2) Miniseries, One-Off-Drama, Crime, Comedy, Period Drama, Action 3) Europe, North America and New Zealand

Jesus Higuera Head of program acquisitions Euskal Telebista (Spain)

1) VRT aims to show the best in international fiction for both broad and more specific target audiences on its channels Eén and Canvas. The company has a tradition of being at the forefront of new trends and has always acquired the best of period drama, British crime, Scandinavian drama, French edgy drama and US network as well as cable series. It has recently also started acquiring web-content for its FVOD service. 2) Miniseries, Mobisodes / Webisode, Soap / Sitcom, Crime, Comedy, Thriller / Horror / Fantasy, Period Drama, Action 3) Europe

1) We want stories with good dramatic ingredients. Characters might be inspired by famous or unknown people and the plot developed through emotions, crime/investigation elements or adventure. What’s important is that the story “ grabs” the Prime Time and week-end afternoon viewer 2) Feature Films, Miniseries. Crime, Thriller / Horror / Fantasy, Period Drama 3) Europe, North America, Australia / New Zealand

Gudrun Jonasdottir Head of Programme Acquisitions RUV – Iceland National Broadcasting Service (Iceland) Willard Tressel General Manager DirecTV Latin America/OnDirecTV 1) OnDirecTV features many acclaimed international drama series like Fargo, Broadchurch, The Fall, The Killing (original), The Bridge (original), Deutschland 83 and more. We have produced our first scripted series, La Casa del Mar (shot in Argentina). 2) Feature Films, Miniseries, Crime, Contemporary Drama 3) Europe, North America, South America

Jenna Bourdeau Senior Director, Acquisitions, CBC (Canada)

Peter Andrews Head of Network Programming, SBS (Australia)

1) As Canada’s national public broadcaster, CBC’s current programming strategy related to drama acquisitions is to offer viewers some of the world’s best content. CBC has also started exploring subtitled content and will launch a new Scandinavian thriller in the coming months. In the year ahead, we’ll look to add diverse world content to our new OTT digital service. 2) Miniseries, Crime, Comedy, Thriller / Horror / Fantasy Sci-Fi, Period Drama 3) North America

1) SBS has a proud history of showcasing the very best drama from around the world on multiple platforms. Our ambition is to strengthen our reputation as the home of the finest international scripted content and, in doing so, contribute to our goal of deepening the engagement of Australians with content that reflects our Charter and expands audiences. 2) Feature Films, Crime, Comedy, Thriller / Horror / Fantasy Sci-Fi, Period Drama 3) Europe, North America, South America, Middle East / Africa, Asia


Sven ven Lokeren Content Manager, VRT - KETNET (Belgium)

1) RUV is on the lookout for quality scripted fiction, character-driven and authentic with strong narratives, that works well for primetime. We like elaborated and innovative drama with strong complex plots that are high in production value, but are open to content that is off the norm and edgy as well. A good mixture of Scandinavian, UK and US shows. 2) Feature Films, Miniseries, One-Off-Drama, Short Films, TV Movies, Crime, Comedy, Period Drama, Action 3) Europe, North America, Australia / New Zealand

Jennifer Batty EVP Programming RTL CBS Entertainment Network (Singapore) 1) We remain true to the core identities of our channels: general entertainment that appeals to all family members. We build our channels with strong, compelling characters to which audiences are drawn. It is important that audiences identify with the characters and like them but it is equally important that the characters elicit a reaction from viewers. 2) Soap / Sitcom, Crime, Comedy, Thriller / Horror / Fantasy Sci-Fi, Period 60 / PRENSARIO INTERNATIONAL Drama, Action 3) Asia

Julian Rodriguez Montero Content Director Latin America, Movistar+ 1) With a significant presence in 21 countries and a customer base that amounts to more than 341 million accesses around the world, Telefónica has a strong presence in Spain, Europe and Latin America, where the company focuses an important part of its growth strategy. 2) Feature Films, Miniseries, One-Off-Drama, Telenovelas, TV Movies, Crime, Comedy, Thriller / Horror / Fantasy Sci-Fi , Period Drama, Action 3) South America

Andrew Shaw General Manager Acquisitions Production and Commissioning, TVNZ (New Zealand) 1 We aim for high quality off feature length titles as well as short run (4 to 6 hours) premium drama titles as well as longer run network series. Our audience target is adults 18 to 54 across our two core channels and males 18 to 39 on our new Male channel “Duke”. We schedule our dramas in a variety of ways; some premium titles we air nightly the longer series weekly with all going to our FVOD catch up platform for 28 days. 2 Feature Films, Miniseries, Mobisodes / Webisode, One- Off-Drama, Soap / Sitcom, Crime, Comedy 3 Europe, North America, Australia / New Zealand


//// SPECIAL reports / buyers

What do buyers want at MIPCOM 2017?

1) Editorial Strategy 2) What type of programmes are you looking for and genres? 3) What territories do you buy from?

Fadi Ismail Director of Group Drama, MBC/03 Productions (UAE)

Tarmo Kivikallio Head of program Acquisitions YLE (Finland)

1) We are looking for compelling storytelling involving themes and ideas that makes sense to an Arab Speaking audience and engage them emotionally. We will look at scripted formats that allow us to adapt in a flexible and creative way to take regional tastes, viewing habits and preferences, as well as cultural nuances, into consideration. 2) Miniseries, One-Off-Drama, Soap / Sitcom, Telenovelas, Thriller / Horror / Fantasy, Action 3) Europe, North America

1) Wide range of drama from all over the world. We have had, for example, all the HBO dramas between 2008- 2014 2) Miniseries Mobisodes / Webisode One-Off-Drama, Crime, Period Drama 3) Europe, North America, Australia / New Zealand

Alexandre Piel DeputyHeadofDrama department / InternationalAcquisitionsand Coproductions, ARTE (France) T.J. Kim Director, United Media (South Korea) 1) Our strategy is always focused on well-organized plot, the stories with dramatic romance ingredients, and the casting by famous actors/ actresses. 2) Feature Films, Miniseries, Telenovelas, TV Movies, Crime, Comedy, Thriller / Horror / Fantasy Sci-Fi, Period Drama, Action 3) Europe, North America, South America, Asia


1) The editorial line of the drama department could be defined by the intent to understand our contemporary environment and to anticipate the future world we shall be living in. We also need to reflect the strong values of the channel (democracy, diversity, quality), and combine demanding programs with popularity. We are open to any kind of genres & thematic in relation to the editorial line, and we are rather flexible in terms of format & duration.. 2) Series, Miniseries, Crime, Comedy Thriller / Horror / Fantasy Sci-Fi Period Drama Action 3) Europe, Asia, Australia / New Zealand



TV continues to prosper in the German Speaking Markets With a total of approximately 44 million television households the German speaking European region including Germany, Austria and a part of Switzerland - the so-called GAS territory - is the second largest worldwide in terms of turnover, next to the US TV market, and number one in diversity, quality and robustness. The GAS TV market is characterized by the so-called dual television system in all three countries which divides publicly funded and commercial private television - both compete for viewers – and, by the dominance of private German television groups, e.g. the RTL Group and ProSiebenSat.1 TV stations. Historically, these were the first market movers when TV was liberalized in the 1980ies. For the target group of children, namely Generation Z, in the GAS markets television is by far the most popularly used medium at 97% clearly ahead of and in the order of listening to music, reading, digital gaming, radio, social media, chats/phone, watching films on YouTube and DVD (Kinder Medien Studie 2017). A most recent and remarkable development is that young television consumers, namely Generation Y with their ample experience in streaming services and social media usage, are returning to linear TV. Of course the Generations´ Y parallel use of mobile, i.e.

the smart phone Germany: Parallel use of TV with Internet/Mobile, Radio/ or the tablet and Newspaper in Min./Day online, next to television, is a reality. However, findings show: Only 8 % of the use of the daily media are used in parallel; The exclusive use of television, radio, internet i n c l u d i n g mobile and the newspaper remains by far recent findings show that the GAS viewers predominant; increasingly rather tend to “lean back” to Parallel media use is stagnating. In the last enjoy television viewing and expect the few years parallel media use has reached its initiative of what to watch to emerge from natural limits in attention and hence, in time the TV set. (OTT-Dienste. Vielfalt online, budgets; Karlsruhe 2017). And, according to research, Television still leads all media in viewers inspiration and choice stems from engagement. the remote control, and ultimately from the Moreover the parallel media use next to TV program planer. television is in actual fact an opportunity for Findings also show that the traditional TV advertisers television is not being replaced by streaming GAS: average daily television viewing, addressing services, even though consumers are more by countries - in minutes (2006-2016) Millennials — inclined to spend money on Amazon Prime, Generations Y Netflix, Apple TV, Maxdome and others. and Z— who They rather use these as complementary tend to use services. TV and online The chart shows the development of and mobile at television consumer habits over the past the same time ten years: Germans are the most frequent more intensely: watchers of TV at a daily average of roughly 90% switch 4 hours. Austrian´s TV viewing time has TV channels increased to a record high of close to 3 hours. less and 40% In the German speaking part of Switzerland intentionally viewing time has traditionally always been watch a TV spot the lowest in Europe and is now at 2 hours while being per day: online. Even though there is an unceasingly Source: 1) TV Scope, Television Panel, GFK/AGF, Age: ≥3yrs (Germany); 2) Teletest, Age: ≥12yrs. (Austria); 3) Swiss Gov. Statistics & Mediapulse, Age: ≥3yrs. (Switzerland) Additionally, high acceptance of US series among GAS


By Prof. Dr. Conrad Heberling, Professor for Marketing and Market Research Film University Babelsberg Konrad Wolf, Potsdam/Berlin, Germany

to the GAS tastes; GAS: advertising on TV is the cheerleader for online & S u r v e y s mobile (14-65 years old). Which of the following have you show that GAS done once or more in the past three months? audiences rank news and information programs as their number one favorites; The solid trend of a whole new offering Source: Sources: Various, e.g. Statista, Goldbach Media, Seven One Media, IP Deutschland, etc. of „Real Life“ formats (RTL, PRO7, RTL2 and VOX) which reflects the video advertising are expected to continue entertainment needs of young audiences to rise by about 4% in 2017 (growth in 2016 seeking orientation and wishing to mirror their was +4.5%) and should exceed the €5 billion peer groups; mark (VPRT). Thus, for first time ever, the The advent and strengthening of the smaller market share held by television advertising regional and national private TV stations; is expected to reach 30% compared with all The trend towards digital mobility making other forms of advertising. the need for abundant and more localized GAS Interestingly, online spend for television high quality content available on smartphones, advertising today has grown to be one of tablets and laptops but also quality content the largest shares of total ad spend on TV in satisfying the needs of the increasing number the GAS territory. Online needs television of viewers opting more than ever before for advertising to purchasing GAS: gross spendings in TV advertising, and promoting products and services in in Million Euros (2010-2016) high resolution the increasingly fragmented GAS media UHD 4K HDR markets. The fact is, only TV has the relevant large home audience reach and boost to finally provide theater television the conversion needed by online advertisers sets. and marketers. Advertising Lastly, what can be said is that commercial revenues in and public Free TV are thriving and attracting seemingly largest audiences in the GAS market. Both s a t u r a t e d will continue to be the homes to loyal markets are at audiences as long as they are provided healthy levels: with high quality and exciting content and for Germany, the excellent programming tailored to their largest market, viewing needs. And, for many years to come, total net revenues advertisers will appreciate the strengths of Sources: Statista and Germany: PwC; Austria: Focus Marketing Research; Switzerland: Media Focus from TV and television.

viewers – about a quarter of all TV series originate from the Hollywood Studios there is a steady and continuous lessening attractiveness of US series over national productions. German daily viewers of US series declined by 24% from 3.8 million in 2012 to 2.9 million in 2017 (Source GFK). The reasons are manifold: Viewers are increasingly migrating to the greater number of high quality German and European “Big Dramas” produced by GAS production units of e.g. the RTL Group (UFA, FremantleMedia) and ProSiebenSat.1 (Red Arrow) and the public broadcasters ARD, ZDF (Germany), ORF (Austria) and SRF (Switzerland) but also 3Sat, independent production houses such as Beta Film, Constantin, filmpool and many more, and in cooperation with the major European production houses such as Studiocanal (France) or Sky Vision (UK). This all increasingly represents a substantial competition for US Studios: There are simply not enough high quality US titles available, such as comedies adapted



//// Special Report BY Daniel Condeminas

French audiovisual production is on fashion The international audiovisual tradeshow Le Rendez Vous was held on September 10-14 in Biarritz, France, has shown how this country has situated itself at the forefront of the new global trends, becoming the very first non Anglo-Saxon market in programming exportation to TV and SVOD platforms. These results were highlighted by TV France International during the annual event: ‘We have sold 186 productions worldwide during 2016, and the expectations for the next years are better’, remarked Mathieu Bejot, general director of the organization that promotes the French audiovisual in all the worlds. Le Rendez Vous has steadily grown year to year. Last yeat, there were 58 producers companies and 251 worldwide buyers, but in this last edition, there were 66 exhibitors and 289 buyers from 55 countries. French exportations in 2016 has also shown a record-breaking figure surpassing €336 million, almost 32% more than 2015. The higher number of pre-sales and France: International presales + co-productions – in milions of Euro (2012-2016) Fiction

60 50 Animation

40 30 20







Source: TV France International



credit: Conxita Miró

international coproductions indicates that the global market is wide confident on France’s productions, Claudia Rodríguez no matter the genre. This Valencia, from Preciosa Sinisa Aleksic, Nicolas Portnoy and Laurent Toussaint, is possible thanks to from RTL Belgium Media (Colombia) RTS (Serbia) the vast creative talent, which is developed in a public-private finance ecosystem that allow producers to take bigger risks. Moreover, there Francis Humble, Tele- Mary Gibson, Digital Martial Ongono and Emmanuel Mbede, Media Rights (USA) Comeroun Radio & TV Corporation (CRTV) is a decided support visió de Catalunya for international commercialization, which is are created and developed for all windows, like reinforced this year with an export plan that the 3-minutes episodes from The Morning. doubles its resources compared to the last On the documentary side, where France has years official programs. always been a referent, the industry is going Eurodata TV Worldwide director, Frédéric beyond boundaries showing two trends: first, Vaulpré, explained to Prensario: ‘The French high quality storytelling on developed on an industry has incorporated to the TV productions immersive experience about hot topics like the prestigious talent coming from the cinema, Cash investigation: Panama Papers. Second, which has allowed to give a qualitative jump to innovate in new formats, as Face to Face that oriented towards the global market. Thrillers faces two rivals that show an evolution from are more intense and mysterious, like The our society, going behind the classic schedule Frozen Dead, or they incorporate exotic topics, of one character, one vision. The series received like Guyane/Ouro’. the Prix Export 2017 award. Dramas have bigger doses of realism and Last but not least, another strong French directors take care of every artistic detail, genre, the animation, which is being especially on the scenography. A good example reshaped with the women empowerment of the translation of the movie talent to TV is that is becoming a global trend on the Federation Entertainment drama The Bureau, audiovisual industry, with heroines that in which reputed movie director Eric Rochant defend the city on Fantasy Control; chase took place. Other series had focused successfully the crime on Mirette Investigates; or look on the young targets, providing new values. They for treasures on Pirata and Capitano.


//// SPECIAL INTERVIEWS / Broadcasters

MTG: ‘We always think across platforms’ MTG is very well positioned in the Nordic region with a strong portfolio of brands and products in each market, including free and premium TV, radio and the video-streaming platforms Viafree and Viaplay. ‘Overall, the Nordic entertainment business of the group is performing strongly with organic sales growth and profits up 8% and 15% respectively in Q2’, remarks Anders Jensen, EVP of MTG, Head of Nordic Entertainment and CEO of MTG Sweden. He continues: ‘Our focus is on building engaging digital platforms that correspond to how today’s viewers want to consume entertainment, while we invest in both, acquired content and, increasingly, own productions. We also has the region’s undisputed #1 sports rights portfolio: every year, we broadcast more than 50,000 hours of high quality live sport, including UEFA Champions League, English Premier League, Formula One, NFL American football, boxing, NHL and KHL ice hockey, UFC and golf’. ‘The fact that we are represented in each of the Nordic markets gives us many advantages. It makes us a bigger buyer, and creates unique opportunities to monetize our technology innovation, product development and content investment on a wider scale’, completes Jensen. About the market itself, he explains: ‘I see the Nordic markets as a microcosm of the global transformation of our industry. They represent very clear examples of how hyper-connectivity —particularly high-speed mobile broadband coverage—enables and empowers a digital lifestyle, which in turn accelerates the consumer shift towards on-demand entertainment products’. From a content perspective, the on-demand ethos ‘naturally leads to a proliferation of video formats’. When consumers become used to access on their own terms, this extends into formats too. Jensen: ‘Storytelling at its best has a strongly personal dimension, and on-demand creates space for everything from longform to short-form, drama to reality’. Our latest Viaplay original series, Hassel with Swedish superstar Ola Rapace, premiered on 8 September and MTG premium offeCommercial share of viewing (15-49), by Nordic Countries (2015-2016)

ring Viaplay is now the leading platform in the Nordic region in terms of customer satisfaction. ‘We recently celebrated the first birthday of Viafree. When we launched in Sweden, the app was downloaded more times than Pokémon Go, and so far this year the number of started streams is up more than Anders Jensen, EVP of MTG, Head of Nordic Entertainment and CEO of MTG Sweden 60%’, Jensen states. ‘We always think across platforms, it’s all about reaching and engaging viewers wherever they are. For this reason, we’re complementing our digital expansion with substantial investments in our linear TV business’. About the noir drama, he says: ‘It has a bright future. Our latest Viaplay original series, Hassel with Swedish superstar Ola Rapace, premiered on 8 September and really pushes the boundaries of the genre. Whether it’s noir in particular or drama in general, audiences everywhere respond to strong, engaging storytelling’. Other originals? ‘Veni Vidi Vici was named in the official selection at this year’s MIPDrama at MIPTV, while Black Lake has been acquired by BBC Four, and Swedish Dicks (Keanu Reeves, guess star), has been picked up by Lionsgate for global distribution and is currently airing on Pop TV (USA)’. Jensen: ‘There are so many great stories out there. When it comes to partnerships, there’s no doubt that an increasingly fragmented media landscape, coupled with global competition, makes co-operation a strategic necessity. That’s why we’re very happy to team up with Swedish pubcaster SVT to share the Ice Hockey World Championships from next year, or to co-develop the major drama series Our Time is Now’. ‘A successful linear series can be the foundation for exclusive streamed content that deepens viewers’ engagement. VR, which MTG is exploring through our Viareal service, literally brings a whole new dimension to sports content. Working across platforms and formats creates so many possibilities and maximizes the impact of your Satellite and third-party subscribers (excluding Viaplay) (2015-2016) storytelling’, he concludes.



really pushes the boundaries of the genre


Swedish Dicks, with Keanu Reeves as guess star in a couple of episodes, has been picked up by Lionsgate for global distribution and it is currently airing on Pop TV (USA)


//// Special Interview / broadcasters

SIC adapts to an ever-changing ecosystem Portugal is a pretty new TV market, as the State monopoly finished in 1992, giving space to the commercial networks. SIC was the very first private initiative. After many years going through a deep crisis, the market is now recovered and ready for the next step. Now the second broadcaster of the market, 2017 has been a ‘challenging, volatile year’ for SIC with changing-viewer patterns and new players, stands Vanessa Fino Tierno, head of acquisitions. ‘Our FTA was the only channel in the local market that did not decrease its ratings. As the advertising market recuperated we were able to maintain our market share, not only in ratings but also in ad values’, she adds. Regarding the top shows of the year, what work best was ‘clearly’ the scripted dramas, especially telenovelas. ‘We have invested most of our production in a stripped programming offering three slots (9.30pm00.30am) that are aired daily, back to back.

SIC brand new access crime series Linha Aberta

Strong stories, great actors, good scripts and excellent art direction. Our novelas lead during prime time and have won several international prizes. We don’t only include heavy and creative soft sponsoring in them, but it is prime time Portugal: audience share, by networks - prime time (August 2017). 25









15 9.6%




AB CD 15/54

AB CD 25/54

Source: GFK


when major sponsors also invest’. About the acquired content offered, the main ones are Globo TV (Brazil) telenovelas, late night procedural dramas, family/action studio produced feature films, and feel good or shiny floor formats for our family week ends. The company operates many Pay TV channels like SIC Mulher (women), SIC Radical (male skewed), SIC K (kids), SIC Noticias (current affairs), SIC Internacional (emigrants) and SIC Caras (society), so it acquires content of many genres. ‘Our main acquisitions concentrate on talk shows, fiction, cooking, fashion, beauty, current affairs, animation, live action, realities and wildlife. Furthermore, we also are content providers and outsource DSTV Kids, a children’s channel in Angola and Mozambique with airs animation and live action teen and family series. Launched in November 2014, it is wrapped and branded to give a local feel and distinguish itself from international feeds’, she adds. ‘Like all others, the Portuguese market is changing quickly. Viewing patterns and consumer trends are changing drastically. OTT and new platforms, new pricing and competitive companies have completely altered the TV panorama. Young viewers are not dependent on schedules. They know what they want to see and where to find it. Nothing is certain although we feel that SIC will never loose its importance as viewers always want to watch live football matches, novelas and news’. ‘This year’s our line-up for this season includes a new original locally produced portuguese novela Paixão, the premiere of Globo’s O Outro lado do Paraíso, a new access crime series Linha Aberta with a very popular host, and the return of a new season of the fun show, a local adaptation of the format Anything goes’. Plus, two very successful documentary/factual formats, which are running into their second season, the first called What if this happened to you?, which addresses social and public issues, and the second one Suspended lives that tells the stories of people that either due to bad luck, poverty or even lack of justice, have seen their lives suspended for years. ‘Both of these returning shows registered excellent ratings in their time slot’, concludes Tierno.

Vanessa Fino Tierno, head of acquisitions, SIC

SIC drama conquers the world

Another important business area for SIC has been the international sales, which is becoming bigger every year. ‘We produce long running dramas that have the appeal of a novella with the look Carlota Vieira, content sales manager, SIC and feeling of a series. A lot of action and the high quality productions called the attention of international buyers’, stands Carlota Vieira, content sales manager. SIC now sells these titles to over 40 countries in the five continents. Also, having received international awards like the Emmy and New York Film Festivals, has helped the buyers to trust a new trend in the market. The title with more global sales is Emmy winner Laços de Sangue (Blood Ties), co-produced with Globo TV by SP Televisão and sold to 28 countries. ‘Coração d’Ouro drives the audience through a permanent thriller, while Amor Maior was adapted for the international market: it offers an alternative ending that allows the programmer to extend or end the story, according to the ratings it gets’, concludes.

Water Mirror, brand new telenovela launched atMIPCOM


//// Special Interview / broadcasters By M. Chiara Duranti, Formatbiz

FOX Italy: young viewers, original stories Fox Networks Group Italy also known as Fox Italia, is the owner of 10 channels distributed by Sky Italia Pay TV satellite platform. Established in 2003 with the name of Fox International Channels Italy, it’s a division of 21st Century Fox that offers a wide range of channels: FOX, FoxLife, FoxCrime, FoxAnimation, Fox Comedy, National Geographic, Nat Geo People, Nat Geo Wild and Baby TV. With 6,3% Share on Sky subscribers, FNG is the fifth largest broadcaster in Italy . On May 13, 2004 FoxLife was launched, a female skewing channel. A time-shifted version of the channel, called Fox Life +1, broadcast the same programming an hour later. On February 1, 2012, a high-definition simulcast called Fox Life HD premiered also. The company’s main mission is to develop quality channel brands by combining the best international television products and the most innovative local productions. Alessandro Saba, VP, Head Of Entertainment, explains: ‘FNGI entertainment channels bring the best series from the market and local adaptation of hit-formats together with local innovative shows. The main channel FOX is mainly focused on young viewers, very open to new trends and great entertainment series. The highlights are the big international hits such as The Walking Dead, Homeland, Prison Break and The XFiles American Horror Story, Marvel’s Inhumans and Agents of S.H.I.E.L.D and The Gifted. ‘While FOX is totally devoted to the best global TV series, FoxLife is oriented to a female target life and emotions are the key words to describe it’, says Saba. ‘It’s schedule offers all genres: from TV series to dating show, lifestyle programs and original local productions. Among global serie Grey’s Anatomy and it’s spin-off FoxCrime premiered American Crime Story-Gianni about Seattle’s firefighters. Versace with Penelope Cruz and Ricky Martin Italy: audience share evolution in the TOP 5 international groups – 8.30/10.30pm (2012-Jul. 17)

8 Discovery

7 6 5 4 3 FOX

2 1


Disney 2012



Turner 2014



Jul. 17

This Is us with Sylvester Stallone guest starring this second season; and the very antcipated The Resident’, he adds. ‘Last year we launched local adaptations of some big global blockbusters as Farmer wants a wife (FremantleMedia); Dance Dance Dance (Talpa). Parla con lei, which is the Italian title for Hear Me, Love Me, Alessandro Saba is the VP, See Me. FoxLife was the first Head of Entertainment channel to launch the format, which did very well’. The other format that we successfully launched this year is 4 Mamme (8x’50), produced in collaboration with Dry Media/Banijay. Aired last May the show sees different education lifestyle from four mothers in their daily routine with kids aged from 3 to 10, at the end of each episode, every mom comments the experience with the help of a family coach. the aim to win a dream for their family. A new season is in production for the next Spring. ‘Then we have FoxCrime, devoted to crime and investigation: Criminal Minds, NCIS, The Blacklist, and American Crime Story-Gianni Versace with Penelope Cruz and Ricky Martin. The series is produced by Fox 21 Television Studios and FX Production and will debut in 2018. Beside this, we also offer the best European titles such as the French series Candice Renoir. Fox Comedy offers all the best fun content dedicated to a young/ adult viewers (15 – 35 y) who love single & multicamera sit-com, with popular TV series like Modern Family, cult like Will & Grace but also brand new series such as Last man on earth and Fresh off the boat’. Fox Animation features adult original animation series: The Simpsons, Griffin and American Dad. Saba concludes: ‘Next spring we are going to air Deep State, Fox Networks’ first European scripted series. An eight-episodes series created by Matthew Parkhill and Simon Maxell and starred by Mark Strong, set in Britain, the US, Iran, Lebanon and France. The plot centres on the merciless reality of the spy world in which an increasingly rare conscience can get you and the ones you love, killed. The series will air in more than 50 countries on Parla con lei, which is the Italian title for Hear Me, FOX chennels next spring’. Love Me, See Me on FoxLife


//// INFORME ESPECIAL Por Fabricio Ferrara

España: pionero y disruptivo Manuel Villanueva, director de contenidos de Mediaset España

El lanzamiento de la Televisión Digital Terrestre (TDT) ha sido sin dudas un punto la bisagra en la historia del mercado español, pionero en esta tecnología que revolucionó para siempre la industria de la TV. La fusión de plataformas, la llegada de los OTT internacionales y el ascenso del drama español. Con el apagón analógico de 2010, cambiaron las reglas de juego en España. El nuevo sistema TDT puso bajo un mismo paraguas a todas las televisoras. Casi al unísono, hubo un anuncio que sacudió a la industria: el Gobierno permitía mediante un decreto real la fusión de los grandes grupos privados, primero Telecinco + Cuatro, en Mediaset España, y luego, Antena 3 + laSexta, en Atresmedia. Esas fusiones junto con el apagón analógico hizo germinar nuevos canales con varias licitaciones llevada a cabo, aunque no necesariamente benefició a la industria en su conjunto. Por el lado de la audiencia y del mercado publicitario, la atomizó; y por otro, esa concentración provocó que los nuevos canales que iban surgiendo tuvieran vida corta… o poca audiencia. Pero por otro, la TV abierta, gratuita y digital generó beneficios concretos. Según Televisión en abierto. Contribución a la sociedad española de Deloitte, ésta supone la mayor aportación al sector televisivo español con un 63% de su volumen. Es el soporte más elegi-

do por anunciantes con el 39% de la inversión publicitaria y el de mayor impacto en términos de notoriedad publicitaria. Las industrias culturales y creativas (ICC) representan una contribución de hasta un 6,9% del PBI y un 5,2% del empleo. Los contenidos televisivos son el 93% del total de las audiencias del conjunto del sistema audiovisual, siendo la TDT la tecnología mayoritaria con casi el 80% del consumo total. Recientemente, se anunció que la TDT deberá desalojar las frecuencias que ocupa actualmente para ceder espacio a las comunicaciones digitales de quinta generación, que permitirán el desarrollo de servicios electrónicos (e-commerce, sanidad móvil). Este cambio de frecuencias, coordinado por la Comisión Europa, deberá concluir antes de junio de 2020. Junto con la crisis mundial 2008-2009, que afectó fuertemente a España, el establecimiento de la TDT llevó a las autonómicas a un nuevo desafío. El primer efecto fue el cierre en 2013 de Radiotelevisión Valenciana (RTVV), la crisis inEspaña: evolución del share de audiencia, terna en Telemadrid por cadenas (2006-Agosto 2017) y la privatización de 25 su gestión de 7RM (Murcia). La pérdida de la 20 autonomía en manos privadas o, peor, el Telecinco 15 cese de actividades Antena 3 FORTA fue una cara de la La1 moneda. La otro ha 10 sido la caída en audiencias. En junio laSexta Cuatro 5 pasado la presidenta de la Federación La2 de Organismos de 0 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 Ago. 17 Radio y Televisión Fuente: Kantar Media Autonómicos (FOR-


Gran Hermano Revolution, con cobertura en 360º en Mediaset

TA), Carmen Amores, acudió a la Asamblea de Madrid a reunir apoyos para garantizar la supervivencia de las TVs autonómicas. No obstante, los datos oficiales indican que el principal problema para estas cadenas no tiene que ver con los presupuestos públicos, que se han mantenido relativamente estables durante estos años, sino con la fuerte caída que han tenido sus ingresos por publicidad durante la última década. Infoadex señala que entre 2007 y 2016 han perdido €227,8 millones en ingresos publicitarios. Mientras que 2007 facturaron €354,7 millones, representando un 10,2% del total, en 2017 alcanzaron €126,9 millones (64,2%) y con una cuota que ha caído casi a la mitad, un 5,9% de todos los ingresos que registró el sector. Más allá del escenario complejo, las autonómicas siguen siendo líderes en sus mercados por historia y referencia a su público. Son sobre todo “refugio” del idioma, como el caso de TV Galicia o TV3 (Cataluña), entre otros muchos ejemplos.


Kantar Media señaló que el 61% de los españoles ha contactado diariamente durante agosto con la TV. Las tres grandes cadenas, La1 (RTVE), Telecinco y Antena 3, sumaron 34.2% de cuota. Por grupos, Mediaset España obtuvo el primer lugar, seguido de Atresmedia y la Corporación RTVE. Mediaset España acumula 41 meses de liderazgo, consumo de vídeo online, seguimiento en Internet e impacto social. Sus dos pilares son entretenimiento y ficción: Gran Hermano Revolution, con cobertura 360º, y la quinta edición de La Voz, nuevas ediciones de Got Talent y La Voz Kids, y una nueva

José Antonio Antón, director de programación y contenidos, Atresmedia

entrega de Supervivientes; la comedia Ella es tu padre y una nueva temporada de La que se avecina; debutarán La Verdad y El accidente, de suspenso. Manuel Villanueva, director de contenidos: ‘Estamos en proceso de rodaje de Vivir sin permiso, creación de Aitor Gabilondo (El Príncipe) sobre una idea original de Manuel Rivas junto a otros proyectos en fases de producción menos avanzadas. Todo nuestro producto está disponible en directo y a la carta a través de Mitele, nuestra plataforma online. Las nuevas tecnologías suponen una oportunidad, pero debemos mantener siempre al máximo nivel una televisión destinada al consumo de masas, gratuito y en abierto, con valores de universalidad, simultaneidad, rapidez y contemporaneidad de contenidos’. Según el ejecutivo, la llegada de nuevas plataformas y la exposición de ficciones extranjeras ‘ha incrementado el nivel de exigencia’ de los espectadores. Pero aclara: ‘El producto más consumido sigue siendo el adaptado a los gustos locales. Las ficciones ajenas tienen una altísima calidad, pero también tienen, en ocasiones, una lejanía con la realidad de la sociedad cuando se emiten fuera de su país de producción’, completa. ‘Las ficciones españolas están despertando cada vez mayor interés en los mercados internacionales, lo que nos permite cerrar acuerdos para coproducir productos, como el caso de Supermax, realizada íntegramente en español junto a Globo (Brasil) con participación de otros broadcasters latinoamericanos que, además de en Mediaset, en España podrá

La Catedral del Mar es uno de los proyectos dramáticos más ambicioso de la historia de Atresmedia

Fernando López Puig, director de ficción, RTVE

verse también en HBO Go’, concluye. Atresmedia viene afianzándose gracias a una estrategia de programación conjunta y coordinada, que incluye una oferta de varios canales en abierto que presentan una propuesta complementaria para todos los públicos. El grupo está apostando a la internacionalización de su contenido, a través de la venta de canales y de programación. El canal principal Antena 3 tendrá como producto de lanza La Catedral Del Mar, basada en el best-seller de Ildefonso Falcones. También En Tiempos De Guerra, así como las nuevas temporadas de La Casa De Papel o Allí Abajo. En formatos, Me Cambio De Década, El Contenedor o Eso Que Te Ahorras así como la vuelta de Tu Cara Me Suena. En laSexta llegarán nuevas temporadas de Pesadilla En La Cocina o Salvados, entre otros. ‘Creamos contenidos originales y exclusivos, sin olvidar la importancia de los informativos y actualidad, que son un campo donde la TV generalista tiene una posición de privilegio’, subraya José Antonio Antón, director de programación y contenidos de Atresmedia. La plataforma de streaming Atresplayer es líder en el mercado local, y cuenta además con una alta aceptación a nivel internacional. ‘Trabajamos en mejorar tanto la experiencia del usuario como el contenido, que lo consideramos único y diferenciador, incluso de los SVOD globales. Tenemos una posición privilegiada en el mercado local, con producto único y exclusivo que además nos demuestra cada día su atractivo también a nivel internacional’. ‘El gran desarrollo internacional que está teniendo el grupo tanto en canales (Antena 3, Atreseries y HOLA TV) como con la distribución, siguen demostrando que el drama español son un producto muy requerido’, dice. Actualmente, el tercer grupo televisivo del país, RTVE es la corporación pública con cinco señales: La1 (generalista), La2 (documentales, cultura), Clan (infantil), 24h (noticias) y TDP (deportes).

Domingo Corral, head of fiction, Telefonica/Movistar+

Ficción ha sido y es un eje clave. Fernando López Puig, director de ficción: ‘Ha habido un cambio brutal en el consumo, la forma de percibir ficción. Hemos pasado del analógico al digital. Antes nos interesaba que un producto sea muy valorado en el menor tiempo posible. Ahora estamos en un tipo de consumo distinto: no queremos consumo inmediato, sino diferido y que se extienda en el tiempo. Eso da cualidades diferentes al producto, aunque no olvidamos que la TV lineal sigue siendo rey’. Según el ejecutivo con este proceso, los géneros se han ‘abierto mucho’. Y añade: ‘Antes había pocos, como el policial, familiar, comedia, etc. Pero ahora, con los cambios de consumo que provocaron las plataformas digitales, han hecho que el contenido se hibride mucho’. ‘Está cada vez más claro que lo que está triunfando es el género, y ahí la coproducción juega un rol central. El policial nórdico es un buen ejemplo (The Bridge o Millenium). Son géneros muy locales, pero tan potente que se vuelve universal. En España, El Ministerio del Tiempo está basado en un género universal (ciencia ficción) en un contexto local’, completa. En relación a Netflix, añade: ‘Tardó mucho en entrar aquí por el gran problema de la piratería. Creo también que su fórmula es España: share de audiencia, por grupos (Agosto 2017)

Unidad Editorial



3,3% 2,9% 17,2%


28,3% 25,8%

Atresmedia Fuente: Kantar Media




España: pionero y disruptivo la mejor manera de combatirla. En series, su modelo ha sido un respiro, pero también es verdad que esa pre-compra que te permite producir la serie, luego te quita comercialmente por otro lado. Nosotros queremos que nuestro producto se vea en todo el mundo a través de nuestros canales internacionales’. Ese modelo que describe López Puig tiene un sabor ‘agridulce’, pero que al final la economía ‘te lo pide’. Al mismo tiempo, mejora la producción y calidad artística, ‘pero por otro lado pierdes identidad, ya que tu producto es 100% Netflix’, remarca. En cuanto a la audiencia en TV, si bien ésta ya venía bajando con la segmentación de la TDT, la llegada de los SVODs globales ha provocado que baje aún más. Un efecto de eso ha sido el incremento del “diferido”: por ejemplo, El Ministerio del Tiempo ha tenido 300.000 descargas posteriores al visionado, un 15% de la audiencia lineal. ‘A este negocio le quedan unos años de supremacía, pero poco a poco se está limando’, adelanta. Los proyectos futuros de ficción en RTVE serán ‘clásicos e híbridos’, buscando siempre un contenido cultural y didáctico de trasfon-

do, pero sobre todo que sea entretenido. ‘En otoño estrenaremos una serie de Globomedia (Águila Roja, Los Serranos), que se llama Estoy Vivo, un policial con toque fantástico. De alguna manera es volver a la esencia: elegir elementos clásicos que, “batidos”, den la apariencia de algo novedoso’. ‘Estamos con el regreso de Cuéntame y con Bambú volveremos al gran melodrama con Traición, un serie sobre una firma de abogados. Para 2018 tendremos Sabuesos, una comedia familiar con una pareja de detectives particular compuesta por un policía y un perro que habla, producida por Plano a Plano’, concluye.

Otros Euskaltel Orange



8% 21%

7% 60%

Movistar+ Fuente: CNMC

TV Paga

La compra en 2015 por €707 millones de Canal+/Prisa por parte de Telefónica, hizo que ésta última se convirtiera con Movistar+ en el principal operador de TV pago de España con más de 3,6 millones de clientes, algo más del 60% del mercado total. Le sigue Vodafone, que adquirió Ono, y sumó 1,3 millones de abonados (2016). Entre los programadores, AMC adquirió Chellomedia. En plataformas digitales, el proceso fue mucho más veloz y, si bien por ahora muestra buen músculo expansivo, aún es un mercado inmaduro. Netflix llegó a España en octubre 2015; y al año siguiente fue el turno de Amazon; HBO Go desembarcó en julio de este año, seguido por AMC con Selekt y Sky fue el último en septiembre pasado. Según el informe más reciente de la CNMC, La Zona de Telefónica/Movistar+ marca un antes y un Netflix tenía a junio 540.000 clientes en Esdespués en la historia de la ficción española paña, y sus principaEspaña: uso de plataformas SVOD en hogares les competidores son con acceso a Internet (Junio 2017) Movistar+/Yomvi y Wuaki.tv/Rakuten. 7,8 7,6 8 tv. Movistar+ se ha 7 convertido además Dic. 16 en un referente en la 6 ficción española, y Jun. 16 5 esa es una prueba de que la televisión está 4 3,4 cambiando. 3 ‘Con el spin off 1,8 Velvet Colección 2 1,1 1,3 hemos creado un 1 0,5 0,6 nuevo modelo en0,2 0,2 0,1 0,2 0 tre el pago y el Movistar/Yomvi Netflix Wuaki.tv Otros beIN/Connect Filmin abierto’, dijo en el TotalChannel Fuente: CNMC FesTVal de Vitoria,


España: abonados de TV de paga, por compañía (2016)

RTVE elige temas clásicos con un twist, como Estoy Vivo, un policial con toque fantástico

Domingo Corral, director de Ficción Original. Movistar + y Atresmedia TV han cerrado un acuerdo pionero, que permitirá la continuidad Velvet, lo que es un movimiento inédito entre los principales operadores de TV abierta y de pago. ‘Tenemos en marcha 30 proyectos en diferentes fases de desarrollo para cumplir con nuestra estrategia de producción de contenidos, que consiste en desarrollar proyectos muy heterogéneos, series muy diferentes para diferentes públicos, pero todas con la calidad en el centro’, sostuvo Corral. En su keynote de MIPCOM, el directivo explicará esa estrategia, que incluye también otros títulos a tener en cuenta: La Peste, desarrollada junto a Atípica Films, y Vergüenza, con Apache Films, que por primera vez participaron de la selección oficial del Festival de Cine de San Sebastián. La primera de ellas tendrá el martes 17 su screening internacional en MIPCOM, también. La Zona (8x’50) es otra de ellas, un thriller policial con premier mundial en el 50ºFestival de Sitges, que estrena este mes: tres años después del accidente del reactor nuclear que devastó una región del norte de España, un inspector vuelve al servicio recuperado tras ser el único superviviente del primer grupo que acudió en socorro de la central. PRENSARIO INTERNATIONAL 4


//// Special Interview / broadcasters

Antenna: beyond contents

Pete Smith, managing director, Antenna Group

Still Standing, the next premier on ANT1 Greece


Antenna Group, the leading international media and entertainment organization, has announced a big modification on its Greek operation: it has restructured two roles within its’ senior management team to support the Group’s growing ambitions in both local and international markets. Stratis Liarellis, currently managing director at Antenna Television (Greece), has been promoted to executive director of Group Policy at Antenna Group. In the newly created role, Stratis is responsible for driving the growth in Greece by identifying new business opportunities, diversifying the Group’s Greek operations and delivering local strategic direction as well as overall responsibility for the Group’s Public Affairs remit. In addition, Antenna’s general commercial manager Tassos Michalakis, has been promoted to managing director of Antenna

Greece. He is responsible for the company’s leading FTA channel, ANT1 TV, as well as the wider Group’s growing digital portfolio which include the recently launched SVOD service, Ant1 Next, as well as it’s OTT service Netwix and a number of other successful digital assets. Greece: audience share, per network


Others 20.66%


ERT2 ERT1 Epsilon

2.85% 4.66% 7.46%



13.92% 10.3%

Mega Star

Source: Nielsen Audience




//// SPECIAL INTERVIEW / broadcasters

ATV: adaptations and digital series are on the rise According to Ziyad Varol, licensing and digital manager, acquisitions & sales, platforms, last season (September 2016-2017 September) ATV produced 184 hours of drama series only. ‘When we count the programs in daytime and news hours, we can easily talk about even higher durations. On prime time, drama series play the key part in our programming but we are also very strong in daytime’. He continues: ‘We are very strong in drama series which have long lasting episodes and stable ratings. Also, ATV’s signature Among the winning dramas on ATV is Love and Hate (Friday) shows like Müge Anli ile Tatlı Sert which is a women orientated show targets at social issues, finding missing people and helping others in need of help’. Prensario wanted to know how the channel managed to reach the #1 position in the local TV market, after many years being behind. Varol explains: ‘Turkish TV Market has a very fierce competition and the climate of the industry may change anytime. HoweCennetin Gozyaslari, one of the brand new dramas ver, we reached the leadership by having quaintroduced for the new season lity programs in all of our timeslots’. He reinforces the idea that drama plays the ‘most important’ role with prime time winner series every day of a week: Orphan Flowers is the #1 on Mondays, whereas Bandits is on Tuesday, and Love and Hate on Fridays. ‘This season these above-mentioned series will be returning but we will also add new Müge Anli ile Tatlı Sert is a women orientated show targets series on our available days’, remarks Varol. at social issues There are three brand new series that Turkey: audience share evolution, per networks - Total Viewers/Primetime (2013-2016) ATV is introducing for the new season: Kanat20 siz Kuslar, Cennetin Gozyaslari (globally Star TV distributed by Eccho 15 Rights) and Seven Ne Yapmaz. ‘These all reached very good results ATV from their earlier epi10 sodes and promising a FOX Kanal D good potential both in home and international Show TV 5 markets’, he says. 2013 2014 2015 2016 ‘In summer, romanSource: TNS/TIAK tic comedies are the ATV has a well-established position in the Turkish TV market as being one of the major channels: last year it finished on the first position of the ranking, betting its main competiors. It’s been followed by huge audiences and differentiates itself as family channel.


most demanded. But when the actual season starts in midSeptember, we can see different genres on each day such as period dramas, military dramas, and classic Turkish Ziyad Varol, Licensing and series with love at Digital Manage, Acquisition & Sales, Platforms, ATV the center. Korean adaptations and digital series are on the rise. People tend to watch the programs online or from their mobile apps. However traditional TV still has a strong share’, concludes Varol.

ATV grows internationally ATV Distribution is going well on the international sales area, with new titles and deals closed in all the world. Muge Hanilci, deputy Latin America is manager, content sales a key territory for this business unit, and Sila drama series has been broadcast in almost all the region. At the beginning of 2017, the company announced a big deal in Chile with Canal 13, who bought three drama series: Orphan Flowers, Wedlock and Don’t Worry About Me. The first is a youth series that has also been sold to Romania, Croatia, Greece, Moldavia, Macedonia, Indonesia and also Netflix in Turkey. On September 25, Canal 13 premiered the series, which conquered not only the TV ratings but also de social media. The series has also been sold to Canal 10 (Uruguay).

Orphan Flowers, one of the top selling titles from ATV Distribution


//// SPECIAL INTERVIEW / broadcasters

NTV: The Road to Calvary NTV, one of the leading Russian channels, has turned the page of the company when it launched a newly created distribution division, which has a booth last MIPTV (April). Now, for MIPCOM, it is putting stronger emphasis on that and launching a new series The Road to Calvary for the global market.

Produced by Russian World Studios the 12-episodes historical drama is dedicated to the 100th anniversary of the October Revolution, and the exclusive worldwide distribution rights have been given to Dori Media Group. Leading actresses Julia Snigir’ and Anya Chipovskaya are presenting the series in Cannes, which

takes place in St. Petersburg in 1914. The Road to Calvary becomes not a metaphor, but a real life for them. The story, which covers the Timur Weinstein, general whole trilogy producer of NTV about the Russian high-society, was shoot by the famous Russian director Konstantin Khudyakov, according to the scenario of Elena Raiskaya. The shooting of the project took place in St. Petersburg, Moscow, Pyatigorsk, Riga and Arkhangelsk. The series has been created with the support of the Ministry of Culture. Timur Weinstein, general producer of NTV: ‘The Road to Calvary is a large-scale project. The screen version of the great novel by Alexei Tolstoy required a maximum historical elaboration to recreate the whole epoch for 12 episodes. This series is certainly an image project about our country, culture, people’s will power. Therefore, it is very pleasant that it will be shown on the first day of the Cannes market to international executives’. Russia: TV channels share evolution (2010-2016) 20

Perviy Rossiya

15 NTV












The Road to Calvary, produced by RWS for NTV with global distribution by Dori Media Group 60 PRENSARIO INTERNATIONAL


//// MORE ATTENDING BUYERS & producers

UK buyers: Jason Simms and Moreyba Bidessie, acquisition executives from Sky Vision; Sasha Breslau, head of Acquired Series, ITV; Katie Keenan, head of acquisition at Channel 5/Viacom, and Jeff Ford, managing director, Fox Networks Group

Buyers from Pay TV company Viasat (UK): Seniha Tunaboylu, head of content acquisitions; Karin Heijink, VP of products and channels; Nicola Hewitt, programme manager, with Chris Keely, general manager, SBS Australia

M6 France: Ridha Barkaoui, fiction acquisitions, Abigail Joliot, acquisition executive, Berengere Terouane, senior artist director, and Philippe Bony, deputy director general of programs

Vivendi/Canal+/Studio+ (France): Hala Baviere, SVP, business development, Vivendi; Aline Marrache-Tesseraud, SVP international acquisitions, Studio+, and Delphine Dewost, director, international project, thematic networks, Canal+

Germany: Oliver Schablitzki, EVP at RTL Nitro, Frank Hoffmann, managing director, RTL, Ladya Van Eeden, programming director of Vox TV, and Hauke Bartel, production and acquisitions director, RTL

German programmers: Andreas Meissner, Acquisition manager, Turner; Thomas Müller-Kulmann, program acquisition manager, Disney Channels; Chris Parkhill, SVP programming, Sky; Marion Rathmann, acquisition manager, Turner

Sylvie Jason, head of acquisitions, RTBF (Belgium); Sven Van Lokeren, programme acquisitions, VRT (Belgium), and Mignon Huisman, head of series acquisitions, NPO (The Netherlands) 62 PRENSARIO INTERNATIONAL

UK buyers from Swedish group MTG: Vicky Watts, senior acquisitions manager, and Vanda Rapti, SVP acquisitions, with Benedicte Steinsrud, Armando Nuñez, CEO distribution at CBS, with acquisitions director Discovery Sky UK: Jamie Morris; Sarah Wright, Lucy Criddle; Nordics and Elke Walthelm, SVP, for Germany

Buyers from Groupe AB (France): Sonia Latoui, head of acquisitions; Mathilde Vaslot, responsible of fiction; Charles Touboul, content development manager, and Eric Laroche, films responsible at Canal +

Henrik Pabst, managing director, Red Arrow International, James Baker, president of the Red Arrow Group, and Jan David Frouman, member of the Executive Board of ProSiebenSat.1 Media SE, all from Germany, with Devin Griffin, director, content acquisitions, global TV, Netflix

German Public TV: Susanne Müller, executive director feature films, ZDF; Thomas Müller-Kulmann, program acquisition manager, Disney Channels Germany, Austria and Switzerland; Sebastian Lückel, MD Acquisition International Fiction, ZDF

Belgium buyers at eOne cocktail: Siegfred Moens, senior manager content acquisition, Telenet; Valerie Lardinois, head of acquisition, RTBF; Sophie Domken, content acquisition officer; Maria-Pia Defourny, content acquisition manager, both from RTL; and producer Jean-Jacques Neira (Fonatana)

France Telélévisions: Damid Amiel, factual and documentary acquisitions; Pierrine Poubeau, documentaries and coproductions, with Silvia Angrisani, head of acquisition at Aquatic Films, and Thierry Mino, acquisitions and coproduction, France TV

TF1 (France): Julien Degroote, head of program scouting, and Thomas Dubois, creation and development manager

Buyers from ProSiebenSat.1 (Germany): Ruediger Boess, EVP, and Claudia Ruehl, senior manager, linear TV, and Thomas Lasarzik, SVP, Group programming acquisitions

Simon Barwyck, acquisitions, iTunes

France Televisions: James Labbé, head of programs, Jean Manuel Dupont from Televisa Europe, Benedicte Marchand, head of acquisitons, Luc de Saint-Sernin, Antennas coordination director

More ProSieben Sat.1, Germany: Christian Kohler, VP US Fiction Series; Christiane Goldberg, SVP sales & acquisitions; Lukas Kuntzsch, VP Content Acquisitions, Digital & Pay TV

Sophie Clignet, programming manager at RTBF Belgium, with RTS Switzerland: Mara Sorbera, acquisitions, Alix Nicole, acquisition manager of fictions

Irene Heschl, head of films and series, ORF (Austria)

Sandra and Nikolaus Klingohr, Sandrats Media and Interspot Film, borders, with Frank Holderied, head of program acquisitions at Red Bull Media House, Austria


//// MORE ATTENDING BUYERS & producers

The YLE Finland, programming and acquisitions team: Tarmo Kivikallio, head of program acquisitions (middle) with Mari Koivuhovi, Elisa Tynkkynen and Johanna Salmela, acquisition executives, plus Riku Saaranwoma, head of TV2

Gita Peterson, acquisitions manager; and Ieva Grovedaite, acq uisitions executive, both from MTG (Sweden); Elvyra Dunauskaite, VP, acquisitions of TV3 Lithuania, Andy Jan Rudovský, media manager at Prima TV (Czech Republic)

AtresMedia Spain: Sonia Vespertinas, Javier Iriarte, programming director, Mercedes Gamero Hoyos, director of sales and acquisitions, and Jose Antonio Salso, acquisitions manager

Myriam López, Discovery Spain; Helen Fox-Gladwell, SVP Discovery UK; Almudema Ledo, Mikel Usoz, both from CosmoTV, Spain; Juan José Marrero, Funwood Media; Ángel López, Artemis Montoya and Mónica Iturriaga, Mediaset Spain

Spain & Portugal: Toni Sevilla, content director, Laura Montero, film director, and Mila Mayi Garcia, acquisitions director, all from RTVE; Rodrigo Díaz, acquisitions director at Chilevisión, Chile; Pedro Mota Carmo, CEO, and Antonio Pereira, acquisitions, both from telco NOS Portugal; and Didier Ghez, VP New Media de NBCUniversal

Programming and acquisitions executives from TVI Portugal: Bruno Santos, Margarida Pereira, and Jose Eduardo Moniz


Maria Gilfberg Lidén, Bonnier Broadcasting (Sweden) with Anders Leifer, and Lars Erik Nielsen, TV2 (Denmark)

Josephine Julner, acquisitions management at HBO Europe, and Valentine Lorant, VP programming at HBO Spain, with Agapy Kapovikantis, EVP de Lionsgate

Italia: Sergio Del Prete, VP editorial and content, Viacom, with Mediaset: Sonia Danieli, acquisitions, Maurizio Colombo, head of programming and acquisitions

Kanal D, Turkey: Pelin Taran Cura, executive, new business development, Production D, Sarp Kalfaoglu, content manager, blutv, and Ozlem Ozumbul, head of content development and planning, and head of acquisitions, Kanal D & TV2

Jaanus Noormets, acquisition executive, Kanal 2 Estonia; Junita Budvytiene, head of acquisitions, and Rolandas Maskoliunas, acquisition manager, both from LRT (Lithuania), and Ilze Korjusa, head of digital acquisition at Lattelecom (Latvia)

AMC Networks + Movistar+ (Spain): Patricia Silva (AMC), Sonia Salas (M+), Alex Martinez Rois (M+); Julián Rodriguez Montero (M+), Pablo Corona (AMC), Pliar de las Casas (AMC), Eduardo Zulueta (AMC) and Christopher Rubi (AMC)

TV3 Cataluña and Euskal Irrati Telebista (etb): Oriol SalaPatau and Carlos Blauch, head of acquisitions, both from TV3 (bordes), with José Luis Blanco, Aritz Galarza Garayo and Jesús Higera, all from etb

SIC Portugal: Vanessa Tierno, head of acquisitions, Theo Wolf, programming, Nicole Correia, acquisition manager

ATV Turkey: Erman Karagoz, TV program strategy specialist, Ravza Incili, TV programs content specialist, and Mehmet Cam, programs manager

Nordic buyers from Discovery Group: Tina Moreton, head of acquisitions, Denmark; Katarina Eriksson, director of acquisitions, Sweden; Bente Engebretsen, senior acquisitions executive, Norway; and Karin Kraft, head of scheduling, Sweden

Ana Izquierdo, senior manager acquisitions EMEA, and Agustina Dompe, manager, TV acquisitions, both from Disney, with Leyla Formoso, Xilam (France)

Greek broadcasters in Cannes: Theodore Kyriakou, CEO, Antenna Group; Nathalie Woodfield, programming director, Star; Giaammis Latsiosi, Otemet; and Karolos Alkalai, general manager, Star

Buyers from Turkish pubcaster TRT: Kurtulus Zeydan, Bany Atay, Leyla Aydogan and Farkan Gundogan

Buyers from Nacional TV (Romania): Larisa Mohut, acquisition coordinator, Anamaria Popa, acquisition manager, and Diana Stanciu, acquisition analyst


//// MORE ATTENDING BUYERS & producers

Natalia Lazareva, producer, Alexandra But, head of international, and Yuri Sapronov, CEO, Russian World Studios, with Melissa Pillow, sales for Europe, TV Azteca

Friday TV Russia: Tatiana Massova and Anastasia Korchagina

Telewizja Polska: Ewa Dqbrowska, head of progamme acquisitions; Lukasz Kluskiewicz, head of film department TVP2; Magdalena Chajewska, head of film department TVP1; and Barbara Siwa, sales manager, KDR Film Studio

Ukraine buyers: Olga Kishchenko, format manager, 1+1 Media, and Nadia Korotushka, project coordinator, UA Formats

Nurzhan Muhamedzhanova, Alkhovsky Denis , both at Channel 31 (Kazakhstan); Galina Redkina, programming director of CIS, CTC Media (Russia); and Assel Toyanova, executive producer, Channel 31

Poland: Irmina Dabrowska, programme acquisition specialist, NC+, with Olga Wieczorek, programming film channel, and Kataryna Brezinka, senior specialist programming, both from ITI Neovision

Acquisitions from SPI/Film Box, Poland: Pawel Kowalsky, Lukas Nowak, Rafal Mala and Piotr Wall

CME buyers from CEE: Pavel Vrabec, Pop TV (Slovenia); Matthias Settele, Markiza (Slovakia); Stella Litou, ProTV (Romania); Silvia Porubská, Markiza (Slovakia); Alex Ruzec, TV Nova (Czech Republic); Branko Cakarmiš, Pop TV (Slovenia); and Petra Bhuslavová, TV Nova (Czech Republic)

RTL Group in CEE: Andreas Fischer with RTL Hungary Peter Kolosi, and Tibor Forizs

Zvjezdana Djuranek, acquisitions, Ranka Horvat, editor drama, both from HRT Croatia (borders) with Tatjana Pavlovic, Antenna, Greece 66 PRENSARIO INTERNATIONAL

TV2 Hungary: Okros Gergely, program director, Janos Wisinger, director, Klara Paszternak, senior program acquisitions, and Gabor Fisher, program director for cable channels

Igor Fedorov, acquisitions Intra Russia

Russian buyers: Katya Andrienko, head of production, and Diana Shishkina, head of licensing both at TV3; Lev Makarov, CEO, Elena Sukhanova, head of programming, Elena Tagirova, acquisitions, all from 2x2 TV channel; and Anna Tarada, director TV licensing at Disney Russia

Barrandov Group, Czech Republic: Jaromir Soukup, CEO with his wife; Josef Hehejik, director of finance, operation and internal audits; Frantisek Borovsky, director of programming; Marcela Hrda, general director; and Lukas Soukup, director of acquisition

Elza Strapkova, manager of acquisitions, and Peter Chalupa, head of acquisitions, Markiza (Slovakia)

Croatia: Zrinka Jankob, editor in chief, George Makris, programming director, both from Nova, with Daria Kozlova, manager media, CEE at Disney, and Nina Mikola, head of acquisitions, Nova

Poland: Lukasz Nowacki, content acquisition specialist, TV Spektrum, Karolina Iwanska, program acquisition manager, WP Group, and Magdalena Chajewska, programme selection manager, and Katarzyna Bojarska, head of programme acquisition, both from Plus TVtt

Ivana Kollarova, manager, and Katarina Slováková, head of acquisitions, RTV Serbia (borders), with Ivana Suliková, programming manager, Markiza Slovakia

Buyers from RTL Croatia: Marco Doslic, deputy program director, Dragana Kos, acquisitions and programme sales manager, and Filip Zunec, head of acquisitions

Nelly Stoynova, acquisitions manager, Diema Channels (Bulgaria), and Jan Rudovsky, head of acquisition, FTV Prima (Czech Republic)

Slovakia: Ivana Kollarova, international manager, RTV; Erika Tothova, head of acquisitions, TV Joj; Lubomir Nemec, director, Content Investment (Czech Republic); and Peter Adamik, contracts manager, TV Joj

Bulgarian National Television buyers: Camelia Doncheva, head of acquisitions; Sevda Shishmanova, director of program BNT1, and Vyara Ankova, general director

//// exhibitors Booth #P3.C1

A+E: reality mixed + drama

A+E Networks (USA) keeps growing not only as a content provider but also a diverse communications environment ranging from linear channels to websites, gaming, watch apps and educational software as well as SVOD products, including first-to-market Apps such as History Vault and Lifetime Movie Club. Sean Cohan, President, In content, the company launches for International & Digital the international market the scripted series Knightfall (10x60’), the story of The Knights Templar, one of the most powerful entities in history, guardians of the Holy Grail and the road to Jerusalem, founders of the modern banking system and inspiration for Arthurian legends and modern-day blockbuster films and books. With 2 seasons available, Six (10x60’), is a serialized drama inspired by the real missions of Navy Seal Team Six, and from Academy Award Winning Forrest Gump Director Robert Zemeckis comes Blue Book (10x60’), about the Air Forces’ 1952-1970 investigation into the UFO phenomenon. From the slate of formats, the company highlights Live PD, a provocative docuseries that delivers an unscripted look inside the world of law enforcement, and Undercover High, which goes undercover with six adults as they secretly explore the most troubled schools in America. In factual it stands the second season of Leah Remini: Scientology and the Aftermath (17x60’), How the World made America (2x120’), Jesus Strand, a Search for DNA (2x120’) and American Ripper (8x60’), among others, while in TV Movies the company is pushing Story of a Gilr (120’), Michael Jackson: Searching for Neverland (120’) and Cocaine Godmother (120’), Knightfall, new drama starring Catherine Zeta-Jones.

Booth #R9.A2

Into the Wild Lands of Televisa

Televisa Internacional (Mexico), the leading Spanish media conglomerate, offers at MIPCOM a wide catalogue in which the traditional romance stories are the queens, but there are other genres like thrillers and sitcoms, some of them produced for the Group OTT platform blim. Heading the slate is Wild Lands (72x60’), Carlos Castro, general a new melodrama about an uptown girl that director of sales moves to the little town where her husband’s, family lives. Nevertheless, everyone ignores that her presence in this house is about to change the entire family’s destiny, for good. This is the story of three men who are in love with the same woman, and a woman who is condemned to decide which of them she loves. Other new format is Sincronía (12x60’), a series that opens the way for the audience to see the different perspectives of the people engaged in the same conclusive event with the strength to change the destiny of those involved. Addressing powerful and current topics like kidnapping, human trafficking, influence peddling, or pedophilia, we will get to see what happens in the lives of the victims, murderers, and those who, for whatever reason, participate in situations that aren’t easy to get through. While Love, Divina (60x60’) is a kids and teens coproduced with Pol-Ka and Federation Kids and Family (France) about a street child who watches over a group of abandoned kids with whom she coexists as a family at a slum. Lastly, the company keeps pushing its successful drama series The Rose of Guadalupe, with stories of tragedy and misfortune, with strong characters based on real people who find themselves in desperate situations, such as domestic violence, drug addiction, prostitution, extreme Wild Lands, new melodrama poverty or terminal illness, to name a few.

Booth #P-1.C81

Atención con Trinity: nuevas caras de negocio

The Martian Group Inc. (USA) adquirió el paquete mayoritario de acciones de la empresa argentina Trinity Distribución y Producción, liderada por Mariano Puig y especializada en gestión de contenidos audiovisuales. Con esta inversión, el grupo estadounidense ha apostado por invertir en la creación de un laboratorio de última generación: Trinity Labs, que contará con un equipo de técnicos liderados por Gabriel Campañó, reconocido colorista del cine argentino. Trinity Labs se plantea como un laboratorio digital 0único, líder en soluciones high-end de masterización de imagen y sonido aplicadas a proveer servicios de asset management, mastering, delivery y QC que le permiten a los propietarios de contenido adaptar los mismos de acuerdo a los requerimientos técnicos de cada territorio y canal de distribución con altos estándares de calidad. Siendo proveedor de Telefónica en América Latina, con Movistar Play y OnVideo, entre otras OTTs’, explicaron desde Trinity. 68 PRENSARIO INTERNATIONAL

Y completó Puig: ‘El laboratorio ha pasado a ser una gran prioridad, ya que podemos trabajar para cualquier OTT de la región. Contamos con instalaciones en el centro y las afueras de Buenos Aires, con un datacenter propio para garantizar procesamiento y conectividad.’ Otras vetas: la empresa desde Miami genera contenidos cortos para países de África, Gabriel Campañó asistiendo a 12 empresas de telefonía celular de ese continente. La productora del grupo Contenta TV genera los contenidos, y la comercialización está a cargo de EMC. Por otro lado, está impulsando cuatro canales digitales por streaming. Uno de telenovelas, otro de cine, un tercero de cine europeo y el cuarto de kids.

//// exhibitors Booth #R8.C 9

Keshet: constantly upgrading

Keshet International (Israel) keeps evolving within a context of constant evolution and turnover in terms of content, innovation, and brands. ‘There’s a constant upgrading in terms of who we are. And we do so to keep up with and match the pace at which society in Israel is changing. It’s a fast-paced environment, there’s a lot of high-tech business here, and there’s an extreme explosion of growth in everything from population to construction to the economy’, describes Kelly Wright, VP Distribution and New Business. ‘That allows us as to constantly be refreshing our catalogue’, she remarks and highlights as example the new format Masters of Dance, which builds on the successful elements of previous talent and marks company’s return to dance shows. ‘Shows like Dancing with the Stars have a heavier feel, a slower pace, and a kind of pageant-like atmosphere that doesn’t really resonate with the younger audience in Israel. What we’ve done with Masters of Dance is ramped up the Masters of Dance, new dance show action – every 30 seconds, you’ve

got a new dance. Audience will have an innovative set, something we build from scratch that looks almost like a film. We’re taking a lot of the language of cinema here, something what’s happened over the last 5-7 years or so’. ‘We are seeing a resurgence of shows like Rising Star and Masters of Dance around the world. We’ve had the first series of RS go off Kelly Wright, VP Distribuin India this year; behind China, being the tion and New Business largest market in which we’ve launched this show and it was a resounding success. Producing a live show for almost a billion people, that’s the challenge we had to face. We’re also going into a season of Rising Star in Cambodia, and we are preparing subsequent seasons of Rising Star in Asia in several other territories as well’, adds. ‘We also have a new game show called Domination, where one person is against the entire nation, and that nation is broken down into different categories of people, and Celebrity Showmance, that takes different celebrities of different popularity levels and varying backgrounds, and pairs them together in unlikely matches’, recommends Wright.

Booth #R7.F12

Kvartal 95: Servant of the People 2 Kvartal 95 (Ukraine) confirmed the second season of Servant of the People, the political comedy that became a hit on Ukrainian TV in 2015 and now is already available in Netflix in more than a dozen of countries including US, UK, Canada and Russia. The series format was acquired by Fox Studios. The new season consisting of 24 episodes will be aired on 1+1 TV channel, and continues to follow the life of an honest and humble school teacher who unexpectedly for everyone becomes the President of Ukrai-

ne. The new season brings new challenges for President’s team. Having arrested his enemy - PriServant of the People Season 2 me Minister - the President opened ‘Pandora’s Box’. An avalanche of new problems hit him and his team. Sabotage of officials, economic cataclysms, strikes, behind-the-scenes intrigues and conspiracies, problems on the international arena - President Goloborodko has to cope with all this in order to stay in the chair.

Booth #P1.B70

Sonuma launches web series

Sonuma (Belgium) is a specialist on documentaries and current affairs for the international market, but this MIPCOM it is also launching the brand new web series Jezabel (11x’5), with a unusual rock’n’roll musician: she’s mute, until the day a music label offers her more than a record deal: the opportunity to make her voice to be heard. On the core business, it offers two nature documentaries: Once upon a time the savanna (‘26), a new episode of the series Extraordinary Africa II (5x’26) shot in the Masaï Mara (Kenya), and The extraordinary garden (15x’26), two new episodes of the extraordinary garden, the nature & wild life collection of Belgium pubcaster RTBF: one devoted to the nature reserve of the Zwin and the other dedicated to the draft horse and the many modern Once upon a time the savanna, documentary uses of this endearing animal. 70 PRENSARIO INTERNATIONAL

The 20 years anniversary of the serial killer and child molester Marc Dutroux’s arrest, Andreas Pandy, the butcher of Mons or, Scream, the impossible forgiveness, telling a teenager murder inspired by the Scream movies, are some of the episodes of Sonuma’s crime & investigation’s collection (71x’60). On current affairs, two titles: The big business of sperm (’30) and Cannabis: an Sebastian Lami Dozo, head of sales effective medicine? and Cannabis: should it be legalized? Following with the music, it launches two series: Rock from the 70’ (14x’26), which shows the most representative progressive rock bands from that decade, and Sensations (4x’52), and edutainment series in an innovative and fresh way to discover classical music history through a specific thematic. Each episode focuses on one theme: happiness, childhood, interiority and maturity.

//// exhibitors Booth #P4.C 4

NBCUniversal: more integrated

NBCUniversal International Distribution (USA) has completed the first half of 2017 with some important news. By one hand, Sky (UK) has extended its multi-year distribution agreement with NBCUniversal in the UK, Ireland, Germany and Austria, as well as EST and TVOD agreement for Sky Store across those territories. Belinda Menendez, President, And secondly, it integrated Telemundo and NBCUniversal International DreamWorks under NBCU’s umbrella, in Distribution & Networks order to strengthen and diversify its offer, with a mix of comedies produced by the Studio and telenovelas and Super Series of from Telemundo. Among the top titles for the region, it stands the new scripted series A.P. BIO (13x30’), comedy centered on a philosophy scholar that loses out on his dream job; Blood Drive (13x60’), drama inspired by grindhouse cinema; Freeform’s The Bold Type (10x60’), and The Brave (13x60’), a journey into the complex world of America’s elite undercover military forces. Broadcasted in TF1 (France) and RTL (Germany), Gone (12x60) is a procedural drama based on One Kick, from bestselling author Chelsea Cain; Jamestown (90’, 7x60’ or 8x60’) is an epic story set on 1619, and Law & Order: True Crime - The Menendez Murders (8x60’) is the new series of the franchise, recounting the infamous case of brothers Lyle and Erik Menendez. Lastly are kids’ series from DreamWorks and Universal Kids’ catalogue includes titles like Nina’s World Halloween Mistery (30’), Dragons (118x30’), based on the blockbuster hit How to Train Your Dragon, Spirit Riding Free (26x30’), inspired by film Spirit: Stallion of the Cimarron; the second season of Netflix originals Trollhunters; Voltron: Legendary Defenders 2 (26x30’), and Universal’s reality Top Chef Jr. (14x60’). Trollhunters (Dreamworks)

Booth #P4.C4

Telemundo, more super series

Telemundo (USA) arrives to Cannes under NBCUniversal’s umbrella in order to keep achieving new markets along with new seasons of its global successes super series. Heading the offer is El Señor de los Cielos 5 (82x60’), where even when Aurelio Casillas has retreated from his business in order to live out his latest Marcos Santana, president, romance and authorities believe he is dead, Telemundo Studios he must soon resurge to finalize a war with his nephew Victor, who brings the country into chaos along with emerging organizations under his command. At La Querida del Centauro 2 (90x60’), after two years escaping, the drug lord Centauro continues to plot his revenge against everyone who crossed him in the past. After faking his own death, he manages to capture Yolanda and convince everyone that she took her own life. And Señora Acero 4 (80x60’) continues the adventures of the feared coyote who now leads the dynasty of illicit dealings once headed by her father. In dramas, the company is promoting three titles for the international market: Jenni Rivera: Mariposa de Barrio (90x60’), biopic based on the life of Jenni Rivera - her childhood, her relationships and her music career - follows this invincible woman in her struggle to get ahead and push her children forward, despite constant hardship. La Doña (120x60’), where hardship and abuse have led Altagracia to become a ruthlessly ambitious woman and a cold mother who has abandoned her daughter. While she lacks love, she may have found it now with Saul, an attorney who defends victims of gender violence. And lastly, Sin Senos si Hay Paraiso 2 (90x60’), about a woman that starts to work for the TEA agency in exchange for her testimony and insight into the world of the Colombian mafias.

El Señor de los Cielos, now on its fifth season

DINT: voices that travel With 33 years in the industry, DINT Doblajes Internacionales (Chile) continues with its plans of expansion and investments to other international markets. It has 17 studios and 7 mixing rooms equipped with the latest technology, and has been pioneer in the dubbing of major Turkish hits such as 1001 Nights, Fatmagul, Forbidden Love, Ezel and Medcezir. ‘Today we work with the latest Turkish productions like Brave and Beautiful, Wounded Love and Kosem, among others. Our voices travel well across all Latin America, in the world of the telenovela. We put passion into our work’, explain Christian and Paola Barzelatto, president and VP, respectively. Patricia Menz, one of the founders, recalls that the first major success of a dubbed telenovela for the region was in 1986: Doña Beija, production of Rede Manchete (Brazil) with actress Maite Proenca, 72 PRENSARIO INTERNATIONAL

which was a great success at the time. Christian Barzelatto summarizes: ‘In 2017 we confirm the quality of our work and our trajectory in this business. Customers recognize and know well who our parents – DINT founders- were. We want to bring that experience to other territories. The Christian and Paola Barzelatto, customers know recognize president and VP of DINT the seriousness and rigor of our dubbing. Discovery is another of the big clients, who are doubled for programs of all their signals. ‘Netflix, Amazon and Marvel have been added to the list. We are in full expansion and will continue to grow’, completes Paola Barzelatto. PRENSARIO INTERNATIONAL 4

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The stars of Dori Media

Disney Media: biopics + thrillers

Dori Media Group highlights at MIPCOM a slate of drama and game shows headed by the Argentinean romantic comedy Las Estrellas (120x60’), about five daughters facing a challenge, written in the form of a clause, which they will have to fulfill in order to claim the inheritance he has left for the sisters. Nadav Palti, CEO Broadcasted in El Trece in Argentina, the series achieved 80% ratings increase on average for 9:30PM time slot. Sold to TV Azteca Mexico, Albania and Germany, Dumb (50x35) is the story about a 30 year old frustrated and stoned actress who is stuck with a body and appearance of a teenager and hates it; while The Road to Calvary (13x45) is an epic periodic drama commemorating 100 years October Revolution based on the famous novel of Alexey Tolstoy. The Best of All tests the theory states that the average of the answers to a question of a large audience will be a more precise evaluation than professional, and the sitcom Game Over (6x30’), peeks into the life of stand-up comedian, just before his wedding. Other top titles are Underground’s (Argentina) drama series sold to US Netflix, France Canal+, Latin America, UK, Spain, Portugal, Israel and Poland El Marginal (13x45’), about an ex-cop who enters a prison as infiltrated, and the game show Intuition, where participants don’t need to know anything, all they need is strong intuition. Also from Argentina and to the international market are the telenovela Por Amarte Asi (60x60’), where a prestigious rich attorney represents a woman that disconnected her dying husband from the machine that kept him alive, obeying his last wish to end his pain, and the comedy Esperanza Mia (180x45’), coproduced with Polka (Argentina) and sold to over Road to Calvary, epic period drama 20 territories. from NTV Russia

Durante los últimos años, Disney Media Distribution Latin America ha reconvertido su estrategia con una fuerte apuesta por la producción de las series originales en la región, con las biopics Leonardo Aranguibel, director de producción, Disney, y Francisco Cordero, CEO, BTF Media en Conecta Fiction como estandarte. ‘Estamos consolidando un camino que iniciamos 2016, centrado en las producciones enteramente originales de la compañía’, señala como Leonardo Aranguibel, director de producción, quien destaca para esta temporada dos títulos: El Cesar, biopic sobre el boxeador Julio César Chávez producida junto a BTF (Mexico) y estrenada a nivel panregional a través de Space (Turner), y El Secreto de Selena, thriller policial que analiza los detalles del asesinato de la cantante Selena Quintanilla. De la mano de HQTC, la empresa decidió dar un giro a su estrategia. ‘Pasamos de hacer versiones locales de nuestro catálogo, con series como Amas de Casa Desesperadas o A Corazón Abierto, a apostar por la expansión de nuestras producciones originales, que hoy son el centro de nuestros esfuerzos. Actualmente trabajamos en 5 o 6 producciones por año, pero el propósito es incrementar esa cantidad de manera sostenida. Se trata de un paso natural; simplemente avanzamos por una ruta que tiene mucho más por explotar’. Sobre el momento de la biopic, Aranguibel señala: ‘Cuando hay un producto que se destaca genera una ola de continuidad en toda la industria, desde siempre. Es la mecánica de la industria, y con Hasta que te conocí se le dio un impulso al género que incentivó a las empresas a tratar de competir dentro de un mercado de gente ya interesada. Estamos en la cúspide de la ola pero todas las olas vuelven a bajar. Hay muchas cosas moviéndose. Los thriller policiales están recuperando su terreno también’, completa. El Cesar, biopic

Sabbah: Al Hayba, success across MENA Sabbah Sadek, Chairman, Cedars Art Production/Sabbah Brothers (Lebanon), participates in the panel “Successful Content in the Middle East’, where the executive shares his experience on the development of the drama success Al Hayba (30x60’), held on Monday 16th, at 10 am in the Auditorium A. Panel also includes the participation of Abu Homos Khulud, CEO, Arab Format lab; Awamleh Talal, CEO, Arab Telemedia Group; Husseini Joseph, Head of Channel, MTV Lebanon; Ismail Fadi, Director of Group Drama, MBC, and Amalia Martinez de Velasco, SVP, Entertainment Brands, Viacom International Media Networks SWEMEA. Broadcasted in 12 countries across the MENA Al Hayba, drama series 74 PRENSARIO INTERNATIONAL

region, Al Hayba reached 116.7 million of persons. It has a second run ready to be broadcast soon on CEE’s networks, and English subtitles for the Americas. The TV series was premiered during the only high season month in the Arab countries, Ramadan, collecting a phenomenal reaction and TV rating across all the Arabic countries and all demographics and with the biggest share of the drama market Sabbah Sadek, Chairman covering 12 countries, according to GFK. The series offers a mixture of mafia, suspense moment with a smart twist, romance and code of honor. Following this success, and only after airing episode 16, major broadcasters commissioned and booked season 2 (30x’60), to be released on July 2018. PRENSARIO INTERNATIONAL 4

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Talpa: ‘House of game shows’

Talpa (The Netherlands) introduces at MIPCOM its House of Game Shows, an extensive offer headed by the new game shows, The Perfect Question, a quiz show upside down, where the contestant is the quiz master at the same time, and Human Knowledge, where two celebs have to guess how ordinary people will behave in various situations. According to Maarten Meijs, MD, even when FTA channels are pretty much continuing with strong brands that have done well for them in the past years, with talent, reality and cooking still solid, there’s a growing taste for game shows again’. ‘After the recent acquisition of SBS, which operates 4 channels in The Netherlands, gives we added a fantastic platform for introducing new game shows at a fast pace, airing at a set time slot in the coming year’, he adds. In terms of expansion, Meijs ensures that Talpa The Perfect Question, new game show

have particularly grown a lot in the Asian region. ‘Here, broadcasters dare to invest in new big entertainment formats they believe in without already having a proven worldwide track record established and are willing to air it. And with success, looking at Talpa’s format The Next Boy/ Girl Band, which has been very successful Maarten Meijs, MD, Talpa Global in Philippines and Indonesia.’ ‘In today’s fragmented market, it’s increasingly important for broadcasters to have strong formats that can attract both traditional and millennials. To deal with this new development, we conceptualize the process of new formats. The challenge with young viewers is not only to reach them, but also to activate them. Therefore, Talpa develops a thorough activation approach. By developing specific content across multiple platforms and per channel for relevant stability, Talpa is able to create strong content that connects the new masses via multiple screens’, completes Maarten.

twofour54: 10 years supporting MENA industry twofour54 gatheres 450 companies and nearly 4,000 professionals. It is home to some of the biggest names in the industry, such as CNN, Sky News Arabia, Ubisoft, Cartoon Network, M&C Saatchi as well as smaller, up-and-coming. ‘Our mission is to nurture media businesses and professionals through a fully integrated and supportive ecosystem that delivers world-class production services and talent development, ensuring the growth and sustainability of the region’s media industry’, describes Maryam Al Mheiri, CEO of Media Zone Authority (MZA) and twofour54 Abu Dhabi.

Our work is all about supporting the growth of the media industry in line with Abu Dhabi 2020 plan to diversify GDP. This is a very exciting time for media and entertainment in the MENA region. For example, the market is experiencing rapid growth of 7.4 percent. This is only surpassed globally by Africa. In fact, the MENA media and entertainment market is predicted to be worth USD 35 billion by 2020’, she completes.

The Brave Heart of Raya Group

Brave Heart and Don’t Worry About Me, dramas 76 PRENSARIO INTERNATIONAL

Established in 2012 by Ramazan Yirmibesoglu, Raya Group (Turkey) is gaining recognition in the international market as a distribution to take into account, now with two main focuses: the international expansion, especially in the African market, and also the expansion of its format offer. In 2016/2017 the company closed deals from some dramas like Don’t Worry About Me and Brave Heart in the Balkan countries, Middle East and started to

Maryam Al Mheiri, CEO

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enter the LatAm market, but according to Yirmibesoglu, Turkish content reality has changed compared to recent past. Content from other countries are gaining markets, and broadcasters are more demanding when considering series. ‘Before you could license 10 titles but now just 2 or 3’, he remarks. Among the main titles stands Brave Heart, centered on the life of a man that lives in a small village in Istanbul which everyone Ramazan Yirmibesoglu, works as a fisherman. Dont’t Worry about managing director Me, sold to Canal 13 Chile and about a boy that loses his father after them get caught in the storm. Lastly, the company promotes the new drama series Roots, sold to Netflix and which revolves revolving around the story of a Lebanese business man who discovers on his death bed the existence of another daughter, fruit of an affair he had in Paris.

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Sony: content for all audiences

Sony Pictures Entertainment (USA) highlights at MIPCOM a slate of high-quality dramas headed by S.W.A.T., which follows a locally born and bred S.W.A.T. lieutenant who is torn between loyalty to the streets and duty to his fellow officers when he’s tasked to run a highly-trained unit that’s the last stop for Alexander Marin, Head of Distribu- solving crimes in Los Angeles. tion, LATAM and Canada In Counterpart, Academy Award Winner J.K. Simmons plays Howard Silk, a lowly cog in a UN spy agency, who discovers that his organization safeguards a crossing into a parallel dimension, and The Good Doctor centers on a young surgeon with Savant syndrome who is recruited into the pediatric surgical unit of a prestigious hospital. The question will arise: Can a person who doesn’t have the ability to relate to people actually save their lives? Philip K. Dick’s Electric Dreams will both illustrate Philip K. Dick’s prophetic vision and celebrate the enduring appeal of the prized sci-fi novelist’s work, and Pyramid is the classic fast paced game of words and wit. From the slate of comedy, it stands Alex Inc., where a man in his mid30s; Bromans, a ‘living history’ reality show, and Jokers Wild, hosted by Snoop Dogg. Lastly, are the dating game Newlywed Game and Absentia, which centers on an FBI agent who disappears without a trace. According to Alex Marin, Head of Distribution, LATAM and Canada, the industry is at a ‘crucial’ time. There is a lot of product on the market and consumer demand is increasing. But it is something that should ‘change over time’. ‘The business can’t deliver consistently at these levels. Free TV is not suffering from the downgrade but is trying to re-explore as it does to recover advertising and that sooner or later falls The Good Doctor on investment’.

Kanal D creates co-production division

Kanal D International (Turkey) arrives MIPCOM after the frame of a new division for international co-productions and content ınvestments, led by Nilufer Kuyel. This new division focuses on developing creative business models in co-productions and content investments; including scripted, film, nonscripted, docu-dramas and mini-series targeted to Ezgi Ural, director of Sales not only turkish but also global market. & Business Development, Last MIPTV, Kanal D sealed a co-development MENA, Europe & Asia deal with Mega (Chile) and aims to expand its operations in Latin America and Western Europe. According to Ezgi Ural, director of sales & business development, MENA, Europe & Asia, and Kerim Emrah Turna, director of sales & business development, Americas & Africa, Turkish audiovisual media is in a transition process since the charge of the rating measurement system. ‘Turkish dramas current outlook cannot be handled apart from this transition of the big picture. The dynamic change of the socio-economic structure of the audience in Turkey changed the way of consuming content. The broadcasters and producers had to adapt their content to the new demands of this new audience’, they ensure and add: ‘The economics of this industry has also a huge effect on the content production. All these resulted in content with a stronger high-quality drama structure and less Mehmed the Conqueror telenovela kind of storytelling. This fact, in the international markets, will lead us to be able to penetrate in some mature markets’. In content, the executives recomends for this season Mehmed the Conqueror, set in the In the year 1451 and centered on the young Sultan Mehmed the Conqueror; Price of Passion, about a hitman working for his criminal uncle, and One liter of Tears, about a young girl resisting the illness. Lastly are Tales of Innocence and Wounded Love Season 2.

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Imagina: the name of the Spanish expansion Imagina International Sales (Spain) is going through one of its best moments in the global industry, along with the Beatriz Setuain, Managing Director Spanish content in general. In 2017, the company sold the series Vis a Vis (Globomedia), already broadcasted in UK, Italy and France and available on Netflix, to Azteca (Mexico). Clarovideo (América Móvil) and blim (Televisa) acquired several titles, among them Gran Reserva and Anclados (Clarovideo) 78 PRENSARIO INTERNATIONAL

and Olmos & Robles and Águila Roja (blim). Also, Crush, produced by Mediapro and Phileas Productions, was sold to USA (Loud TV), France (Satisfaction), Italy and Benelux (Butterfish). While WP1 (Poland) acquired the rights of the series B&B (Globomedia) and Seis Hermanas (Bambú), and Portocanal (Portugal) bought Cuenta Atrás (Globomedia) and El Faro (Zenit TV). Lastly, the comedy Chiringuito de Pepe (100 Balas), was sold in Bulgary and Greece as format. At MIPCOM, the company is launching the thriller series Estoy Vivos (13x70’), where a detective awakes on a strange place after dying on a car accident and is returned to life on other body,

and Nit I Dia (26x50’). Allí Abajo (44x70’) is a comedy series centered on a young guy Pulsaciones, thriller sold to UK, US that travels to and Latin America the south with her mother and Pulsaciones (13x50’) a thriller sold to UK, US and Latin America about a doctor that has to solve the murder of the person who donated his heart to him. Lastly are the dating show Rush Hour Love (60’) and Married 10 (8x50’), social experiment.

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Telefilms: más Hollywood, producción original Telefilms, principal distribuidora de Latinoamérica, consolida sus tres líneas de negocio: películas de Hollywood, con 40 estrenos previstos; producción original de cine y TV; y el fortalecimiento de su presencia en España a través de la distribuidora theatrical Diamond Films. Tomás Darcyl, presidente del Grupo Telefilms: ‘Es un gran momento de la compañía. Tenemos 170 personas lideradas por Ricardo Costianovsky, CEO, y yo. Es una responsabilidad enorme pero el equipo humano en todas las líneas marca la diferencia’. Los buenos resultados del trabajo llevado adelante se reflejarán post MIPCOM, cuando el 24 de octubre Darcyl y Costianovsky, fundadores y Co-CEOs de Diamond Films, reciban el premio a la “Mejor Distribuidora” del año de parte de la organización de ShowEast, en Miami Beach. Diamond Films representa el 95% de todos los tickets vendidos en la región y tiene oficinas en México, Brasil, Argentina, Colombia, Perú, Chile y Bolivia, y hace poco más de un año se expandió a España. Hay 25 títulos confirmados con estrenos en USA hasta agosto 2018: dramas, infantiles y pop corn. 13 títulos están disponibles para operadores en España. Son films independientes con presupuestos de más de USD 40 millones.

Me gusta pero me asusta, largometraje original producido en México

Suburbicon es una comedia criminal y de misterio dirigida y protagonizada por George Clooney y Matt Damon, que Paramount estrena el 27 de octubre. A Bad Moms Christmas estrena el 3 de noviembre, All the money in the World, dirigida por Ridley Scott, el 8 de diciembre, The Foreigner y Molly’s Game (22/11). Para 2018, Horse Soldiers (19/1), Den of Thieves (19/1) con 50 Cents y Gerard Butler, Gringo (9/3), y Entebbe (16/3) dirigida por el brasileño José Padilla, sobre el secuestro de un avión que fue obligado a descender en la ciudad de Uganda que lleva ese nombre. También A drift, The HappyTime Murders y Captive State. Las películas que podrían pelear premios son Florida Project (6/10), Mark Felt: The Man Who Brought Down the White House (29/9), Brief (13/10), The Killing of a Sacred Deer, A Current War (22/10), Polaroid (1/12), Midnight Sun, Tully (20/4/2018), Films Stars don’t die in Liverpool con Sony y Lean on Pete, entre otras. Telefilms trabaja en más producciones originales, tanto en películas como en series de TV. En el primer caso, planea producir cuatro en Mé-

Tomás Darcyl, presidente del Grupo Telefilms

Mark Felt: The Man Who Brought Down the White House, con posibilidad de premios

xico, donde ya está desarrollando Me gusta pero me asusta; y cuatro en Brasil. También tendrá la segunda parte de Ñero Ñero 7, producida en Colombia. Las series de TV es un nicho que está comenzando con Sandro de América (13x’60), coproducción The Magic Eye/Telefilms y Telefe, que estrenará en 2018; el canal distribuirá en Free TV, mientras que la distribuidora en Pay TV y SVOD en la región (ver más abajo). ‘Estamos en un momento de la industria en la que la única opción para crecer es apostar fuerte. Buscamos locomotoras que empujen y promuevan esa inversión. Vienen tiempos de desafíos y cambios, queremos estar preparados’, completa.

Sandro de América estrena en 2018 La biopic Sandro de América cuenta cinco décadas de la vida de este artista argentino que fue reconocido en todo Latinoamérica y tiene previsto estreno en Telefe a comienzos de 2018. Está dirigida por Adrián Caetano (El Marginal) y producida por Adrián Caetano, director, junto a Juan Parodi, productor, y los tres actores que encarnan las distintas The Magic Eye, liderada por Juan Parodi. etapas de Sandro: Agustín Sullivan, Marco Antonio ‘Ha sido un enorme desafío de producción, Caponi, y Antonio Grimau vestuario y locaciones. Es un honor trabajar con Caetano: es una artista dirigiendo artistas, con una mirada muy particular y decisiva’, resalta Parodi.

FTM, adapting to the new content trends FTM Entertainment (Italy) has been founded in 2015, when Fatma Ruffini decided to embark on a new professional adventure after leaving Mediaset. She gathered a team of professionals and consultants specialized in entertainment, international monitoring of new formats and the creation of new projects. Among the first productions there was Red Arrow’s Midnight Feast, along with original projects as Clinica Veterinaria, the makeover 80 PRENSARIO INTERNATIONAL

Ciao Bellezza!, focused on the difficult stories of women and girls who want to regain their own femininity, and the sketch-com branded by McDonald’s Love Snack with a second season being produced for Italia 1. ‘We are curious to see at MIPCOM new ideas from our colleagues and we hope to find some innovative formats to adapt for the Italian market. We focus on the lives of people who face critical issues on daily basis, young people abroad

(Meet the Chef), or retired people who never stop dreaming (Destinazione Paradiso), women plenty of dignity with a disparaged job (Kubiste), Fatma Ruffii, CEO or contentious couples who need to remember the reasons for their love (Malamorenò).

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TV Azteca: following trends TV Azteca (Mexico) celebrates at MIPCOM its 25° Anniversary with a gala opening dinner, held on Sunday at 20 pm in the Majestic Hotel, where Benjamín Salinas, will receive recognition for the company’s trajectory During this two decades and a half, the company has reinvented itself adapting Fidela Navarro, TV Azteca its offer to the new trends in the market. International director For this season it stands the new melodrama series Bad Maids (90x60’), developed by César Sierra and produced by Joshua Mintz, and defined as ‘socially relevant and modern for its content, when dealing with universal, controversial and topical issues’. The story follows a young journalist who suffers the loss of her mother. While going through her mother’s belongings, she discovers evidence that her biological mother was actually another woman. While Two Lakes (13x60’), produced by Benjamin Salinas Sada & Roberto González Pesqueira, and in association with 20th Century Fox, is a horror series that tells the story of three families inhabiting the same house on different times (1944, 1975 and 2015). In biopics, the company recommends El Cesar (26x60’), in association with Disney and BTF, and based on the life of one of Mexican legend and worldwide boxer, Julio César Chavez. Also produced by Mintz are Iron Lady (80x60’), about a woman that witnessed the brutal murder of her father and embarks on a lifetime mission to find the killer as a prosecutor at the Attorney General’s Office, and Missing Bride (80x60’), where the disappearance of a wife and mother opens a Pandora’s box in a family with secrets. Lastly, the company is promoting the dramas 3 Families (100x60’), Nothing Personal (80x60’) and Living to Race (40x60’). Bad Maids, new series

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Lionsgate: event series and more dramas

In addition to be one of the filmed entertainment leaders, Lionsgate (USA) content drives a growing presence in interactive and location-based entertainment, gaming, VR and other new entertainment technologies, including a 16,000-title film and television library and delivered through a global licensing infrastructure. Among the new dramas Peter Iacono, President, Int’l TV & Digital Distribution for this season, Peter Iacono, President, international TV & Digital Distribution, recommends Ten Days in the Valley (10x60’), starring Kyra Sedgwick as an overworked TV producer and single mother in the middle of a separation. Her life is turned upside down when her young daughter goes missing in the middle of the night. Just like her controversial police TV show, everything is a mystery, everyone has a secret, and no one can be trusted. At the event series Little Women (3x60’), four sisters show their journey from childhood to adulthood; while Howards End (4x60’), based on the internationally acclaimed novel, explores the story of two independent and unconventional sisters and the men in their lives, and The Girlfriend Experience (27x30’) shows a second year student at Chicago-Burnham Law School and a new intern at a prestigious firm that enters to the world of transactional relationships. The company keeps promoting the global successes Orange is the New Black (94x60’), the comedy Grace & Frankie (52x30’), Nashville (112x30’), Graves (10x30’), Power (48x60’) and The Royals (40x60’), a story set in modern-day England and follows the lives of a fictional British Royal family that inhabits a world of opulence and regal tradition catering to any and every desire, it is also a world that comes with a price tag of duty, destiny, and intense public scrutiny.

Ten Days in the Valley, new drama

Sabbatical, to take into account Founded early 2017 by Miguel Somoza, Sabbatical Entertainment (USA) is growing by leaps and bounds: it already has seven original projects in production and has taken Estrella TV’s distribution. Among those projects are the educational Qué Cool, El mundo es tuyo y Planeta de Niños, Miguel Somoza, CEO developed with Marlon Quintero’s CIC Media, the entertainment show (L)Over; the vignettes Belleza Inspirada; Ephemeral, informative, and Desde las gradas, sports. Also, the company announced the launch of 3 short formats for the 2018 Soccer World Cup: Mujeres 10 #NYEDD (30x2’), about 82 PRENSARIO INTERNATIONAL

the wives and girlfriends of some of the top football players including the lives of Antonella Roccuzzo, Victoria Beckham, Irina Shayk, Bruna Marquezine, Sofía Balbi, Shakira, among others; Postales de futbol (30x2’), about the eleven cities that will receive the World Cup, and Inolvidable (30x2’), which shows the most unforgettable moments in sports. In terms of expansion, the company signed a deal in the US Hispanic (Univision) for The World Is Yours, which takes young viewers on an exciting journey of discovery, and Kids’ Planet, which follows the global adventures of a whimsical girl named Nova, aims to teach young viewers how to have good values, make smart choices and appreciate different cultures.

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DRG: conquering the Americas The past few months have been very busy for DRG across North and South America and it have struck some great deals with current content: Monster (7x60’), new serial killer drama from NRK in Norway has been sold to Starz (USA) and Veni, Vidi Vici (10x35’), produced by Viaplay-MTG (Sweden) Scott Kirkpatrick, SVP Sales, has been licensed to Hulu. To celebrate North & South America these launches it offers a cocktail party at Carlton Beach, on Tuesday 17 at 18.30. The company also launched Atrium TV earlier this year, set up as a drama ‘commissioning club’ for SVOD and OTT providers, and that will allow any members in the region to get in really early with strong, scripted content but if it happens to be passed on by a local member, it will be available to broadcasters in the region through DRG. ‘Our royal programming is also proving popular in the Latin region; we have recently sold lifestyle show Kate Middleton’s Wardrobe Secrets to DirectTV Latin America and My Mother Diana to Telefe in Argentina. In addition Heston’s Fantastical Foods, featuring the famously eccentric British chef, has been acquired by the Food Network in the US’, describes Scott Kirkpatrick, SVP Sales, North & South America, and describes Latin America as a big strategic focus for DRG this year. ‘To support our development plans we have recently appointed Cesar Diaz of 7A Media to act as our exclusive agent throughout the region’. ‘We will also be attending MIPCancun for the first time this year in order to meet with as many buyers as possible, hear directly about what they are looking for and of course to pitch them with Veni, Vidi Vici, licensed to Hulu our newest content’, he completes.

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Kapow, a new way of entertainment Founded by Lucas Rainelli and Agustin Sacanell, Kapow (Argentina) is a production company with more than 13 years, which has developed more than 4,500 hours of contents for free and pay TV in Argentina and Latin America, including documentaries, entertainment shows, realities and, most recently, drama series. It has developed +4,000 hours in own formats Agustin Sacanell, director and provided more than 1,000 hours of services on its 700sq meters studio based in the Audiovisual District in Buenos Aires, Argentina. Kapow has 40 employees and it has been working strongly in order to expand the company internationally. A good example is the cooking show Cocineros Argentinos that has nine seasons on air on Television Publica Argentina. The company has licensed the format to Chilevisión (Chile) and TV Azteca (México), this last through FremantleMedia, where it is a huge success not only on TV but also on social media and anciliary businesses. It has also been confirmed for Univision, whose Cocineros Latinos will be premier by end of this month becoming a key milestone for the company. Sacanell is attending MIPCOM this year in order to continue discussing possible adaptations of the format worldwide. The objective is to promote the program in some European TV markets. Most recently, the company has put strong emphasis on the drama development, with an important first project, commissioned by Netflix for global broadcast: Estocolmo. This 13-episodes thriller co-produced with StoryLab takes on the theme of human trafficking, following a district attorney, an undercover cop, and a journalist as they get mixed up in a web of intrigue Cocineros Mexicanos is one of the most successful surrounding the investigation of the versions of the format, which will have a new disappearance of a young woman. adaptation later this month in Univision (USA)

J2911 Media: content with a positive message

Launched in late 2014 by Vivian Reinoso, J2911 Media is an independent distribution with a catalogue composed by a variety in films, series, factual, all with a positive message. ‘I think that is something that is needed everywhere in the world and we can offer it with a very good quality of content’, highlights Reinoso. ‘In addition, our catalog is composed of titles that are originally in English (most of them already dubbed into neutral Spanish), as well as content originally in Spanish (several of them with English subtitles). Among the highlights are three factual series: Descubriendo Historias, Agenda Privada and Estas Descubriendo Historias, factual series Viendo y no Ves, each one 84 PRENSARIO INTERNATIONAL

with a special style of travel and culture that we trust will engage the audience and lead them to know places and lifestyles that at some point they will also want to experience’, she adds. Actually, J2911 Media has distribution agreements with production companies from US, Mexico and South Vivian Reinoso, worldwide acquisiAmerica, including Murga (Argentina), tion & distribution director and SIM MX TV, has completed a deal for 154 episodes of factual content in the US, and is focusing on new business opportunities for the future, open to collaborate with projects that are within the commercial and ethical line that the company handle. ‘A lot of good things will come to us in the next few years’, completes Reinoso.

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MGM: grow around the world In 2017, MGM (USA) achieved many great successes. ‘First, the quality of our product was awarded at this year’s Emmy Awards when MGM Television produced shows The Handmaid’s Tale –sold in more than 75 territories-, Fargo, Shark Tank and The Voice won a collective 11 awards’, describes Chris Ottinger, Chris Ottinger, President, Worldwide President, Worldwide TV Distribution and TV Distribution and Acquisitions Acquisitions. ‘We are continually looking to grow our business around the world. This year we saw significant growth in Poland, India and China. To help expand our licensing efforts in Latin America and Caribbean territories, we brought on the team at LedaFilms who will focus on maximizing sales to free television, basic TV and SVOD. MGM will continue to manage all rights in Brazil, Chile, Colombia, Mexico and Pan Regional territories’ he adds. The company also acquired this year the pay TV network Epix, with the objective to increase production of original content for the network. Already for Epix, MGM Television produces Get Shorty, which has been picked up for a season 2 and is in production on The Truth About the Harry Quebert Affair based on the European bestselling novel by Joel Dicker starring Patrick Dempsey, Ben Schnetzer, Virginia Madsen and Damon Wayans Jr. Along with The Truth About the Harry Quebert Affair, the company is offering at MIPCOM several new films that are being sold for the first time including Overboard, comedy set in the 80s’, and Tomb Raider (210’), which follows the treacherous journey of a young Lara Croft as she takes her first The Handmaid’s Tale, series sold steps toward becoming a global hero. in more than 75 territories

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TRX launches globally

Founded in mid-2016 by Matthew Frank, TRX (UK) is an online dealmaking tool that enables TV rights buyers and sellers to connect and close more deals, more efficiently. On TRX entire licensing deals can be completed securely online, from discovering and screening content to negotiating a price and signing a contract. ‘TRX now represents over 70 distributors and over 12,000 of multiMatthew Frank, CEO genre content. In addition as we approach our global roll out this October 2017 we have over 500 registered buyers with more signing up each week’, describes Frank. According to the executive, some of the distributors now using the system include Sky Vision, All3Media, DRG, Off the Fence, Cineflix, Discovery and Hat Trick. In addition TRX will be announcing some major new partnerships during MIPCOM with some of the largest distributors in the world. TRX has also recently confirmed further investment from Sky Ventures into TRX ahead of the global roll out ‘Ours is the online trading tool that allows buyers and sellers of content to do their deals quickly, easily and efficiently from discovering and screening content right through to negotiating the deal and signing the contract. No other systems offers this end to end solution at present’, ensures the CEO. The company was launched to all territories from 9th October 2017 following a successful beta test in Asia –along with the Malaysian company Vision Plus- and Central Eastern Europe. In addition the platform will be adding movies, short form content and live events to the system to create even greater choice for TRX registered buyers.

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Metro TV: adapting to changing market Metro TV (Colombia) arrives to MIPCOM with a wide of content including movies, series, novels, animated, documentaries, among others. ‘A wide catalog where success is guaranteed for channels; as we are a company that adapts to the changing market of TV and always seeks to satisfy the main Selim and Carolina Sefair, needs of our customers’, describes Carolina Sefair, sales and acquisition manager. ‘We continue to expand our library with content from the world, always with high quality content including stories such as Cello, the Lebanese drama already dubbed into Spanish, where the beauty of images and music connect with the stories of love, surpassing, power and the achievement of dreams’, adds Sefair. The executive also recommends the travel shows Modo Selfie or All 86 PRENSARIO INTERNATIONAL

Inclusive, where audiences can discover unknown locations for many, but very relevant for the culture, and the cooking shows Curries & Stories and Foodlog where the Hindi culture is exposed in a funny and educational way. In Animation it stands ECO S.O.S., about the environmental care; Omm Moo Yoga with yoga and spiritual culture for kids; and Peztronautas and El Mundo De La Luna, broadcasted within Latin America by Discovery Kids and with great success among the little ones. ‘For this 2017 we hope to continue including our contents in the different screens of the world and we are also working in the search of coproduction of projects of animation and sale of formats of exportable game shows for the world that surely will give a fresh air and a new vision to the channels that want to Cello, Lebanese drama acquire them’, completes Sefair.

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ORF: brand-new crime series

ORF-Enterprise (Austria) brings to MIPCOM a full new slate of fiction products, starting with the four-parts TV Movie Downtown Comedies (4x’90), with the typical stories from the urban countryside. The comedy series Suburbia – Women on the Edge (30x’48) is about a bunch of Marion Camus-Oberdorfer, Head of beautiful beasts thatare setting out to turn Content Sales International the tables between them and their husbands. Also, the crime series Fast Forward (50x’45), starred by a single mother and investigator, and Backwoods Crimes (10x’90), where a cop takes a break in a small village, but the villagers don’t welcome him with open arms and soon there is a terrible accident. It also highlights its factual series RoadKITCHEN (10x’25), about food & gardening with a somewhat unusual chef that takes the audience on a journey aboard his Food-Bike, YUMMY – Cooking with WOW, an edutainment cooking show for kids, who let their imagination loose. ORFs nature and wildlife 4K documentaries are Sky River of the Himalayas (3x’52), which explores the world’s highest major river thundering through the planet’s biggest gorge and running through Asia’s hotspots of biodiversity. Lastly, Untamed Albania (’52) and Wild Ireland (’52) that features the country’s wild wonders as they have never Wild Ireland been captured before.

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CMF: VR continue to pay off As consumers start to adopt the technology with enthusiasm, we’re seeing new and exciting trends appear on the horizon of VR. According to a recent report from the International Data Corp., the immersive tech space is poised to generate US$162 billion in revenue by 2020, up from US$5.2 billion today. Consumers are hungry for content Valerie Creighton, President and CEO on a growing number or platforms and devices. Technology has provided innovative options for sharing stories with audiences from all parts of the world. In this context, the Canada Media Fund has made a strategic decision to invest in an ever-growing number of VR projects as an important part of the funding it provides to Canadian digital media. ‘Currently, 22.5 million people consume VR content around the world. A figure which could increase to 154 million by 2020, primarily driven by the proliferation of various uses for VR technology and content’, explains Valerie Creighton, President & CEO. Since 2012-2013, the CMF has invested in 40 innovative VR projects, totaling $30.48M in funding. Last year, it invested in 29 new and innovative projects that push the boundaries of VR. We believe that audiences should be able to access and enjoy compelling content on the platform of their choice, anytime, anywhere and to share them with the world. VR is yet another means of doing so. ‘This is where we come in, not only on the content side, but also through our investments in the innovative technology required to create increasingly sophisticated immersive experiences that captivate audiences around the world,’ completes Creighton.

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Filmax: consolidation in the TV business Filmax (Spain) has consolidated its position in the TV business with the debut in early 2017 of I Know Who You Are at Tele 5’s prime time. The series has also started to grow abroad Spain, sold to BBC 4. ‘Spanish dramas do not usually reach the demanding UK market and IKWYA been successfully cast in Saturday night’s slot, the same one in which Ivan Diaz, head of BBC 4 placed the most important European international division series (The Bridge or The Killing, by example)’, describes Ivan Díaz, head of international division. The Red Brand Society, also produced by Pau Freixas, keeps growing in the international market, adding new territories like Germany, where Vox is working on a local version, and France, where TF1 started to record the first chapters of the local adaptation. ‘Freixas’ team is working 90 PRENSARIO INTERNATIONAL

on its new fiction: Welcome to the Family, started to record in October and which promises to be a new success for the film production Arca Audiovisual, responsible for some of the most interesting fictions created in Spain in recent years’, adds Diaz. I Know Who You Are, drama Regarding the cinema division, the sold to BBC4 (UK) other big line in Filmax business, this year the company is releasing The Motive, directed by Manuel Martín Cuenca; Operation Goldenshell, stared by Jordi Molla, Karra Elejalde and Bárbara Mori, the Peruvian film The Solar System, and the horror movies Muse, from Jaume Balagueró (Darkness, REC), and The Blacksmith and the Devil, produced by Álex de la Iglesia.

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Brazilian Content: the new RioContentMarket

Calinos: business diversification

The Brazilian audiovisual industry is stronger than ever at MIPCOM: 38 companies gathering more than 50 executives are in Cannes offering contents for the global market. The country is also promoting the “new” RioContentMarket, whose 8th edition will take place on April 3-8 in 2018 at Cidade das Artes, Rio de Janeiro, only one week before MIPTV. Rachel do Valle, executive director The reason of this change is that RCM will be hosted inside a bigger Brazilian event: Rio Creative Conference – Rio2C that will cover in addition to the audiovisual sector, music, innovation and games, as well as fans and general audience. Back in Cannes, Brazilian Content, the export program from BRAVI (independent producers) and APEX (Agência Brasileira de Promoção de Exportações e Investimentos), organizes the traditional cocktail on Monday 16 at 5pm at the booth. Rachel do Valle, executive director: We have a bigger presence at this year MIPJunior & MIPCOM, and we organize business meetings with companies from Argentina, China, Israel and the UK. Key drama producers as Boutique Films, which has generated contents for Netflix, or Mixer, which regularly works for HBO, as well as animation producers such us TVPinGuim or Bromélia are very active in the market’. Brazil is putting special emphasis on the animation business segment because it will be the invited country for Annecy 2018, the #1 global tradeshow of this genre. ‘The Brazilian delegation has participated at MIPCOM since 2004, and we believe is a great place to do global bussiness. Our expectations are very high this year’, concludes do Valle.

Anghelo Taylor has been recently appointed as international sales manager at Calinos Entertainment (Turkey) and he is promoting at MIPCOM two brand new series Our Story, local version of Shameless (Showtime), and Women, which follows a single mother that strugglea Anghelo Taylor, International Sales Manager with the lost of his grandparents and the love of her life. The company offers a cocktail at the stand with the presence of stars of the main shows, on Monday at 5.30pm. ‘Calinos has a solid corporate backing, being the first one to sell Turkish series abroad’, describes Taylor. The company is ‘entering a new stage with strong stories and new business models that not only achieved penetration in the marketplace but ensure the sustainability of Turkish content’. ‘Our new series have both strong women as main characters and are mainly targeted to women 18/49 years old’. He also highlights A Love Story, which is in negotiation with several channels, along with re-run and remakes of famous titles like Feriha. ‘Africa is our next destination. We have added a Kenyan sales executive, who attendes DISCOP Johannesburg and we are also in negotiations with major Latin American partners for large-scale co-productions. This opens a branch of Calinos where our corporate strength as an international holding company will allow us to diversify towards a business unit Our Story, new dramas focused on the generation of content’, completes the executive.

Canal 13’s Vertigo

Through 13Sudmedia’s brand, Canal 13 (Chile) recommends for the international market the game show Vertigo. ‘With 12 season aired in Chile, Vertigo has managed to build a solid identity and become a classic in the Chilean TV, with a strong projection for the future’, highlights Rodrigo Correa, Sales Content Manager. Combining ‘humor, truth and contingence’, Rodrigo Correa, Sales Content Manager Vertigo shows how different personalities from various fields (shows, politics, sports, entertainment) take charge of their history and their relationship with the public, making great revelations that mark the year-by-year news agenda of a whole country. In addition, and with the support of the audience, the show has seen renewal as a constant ally, always with the focus of giving a better participation to viewers. And the three axis of 92 PRENSARIO INTERNATIONAL

R7.A11 Vertigo gives us the chance to offer a wide and attractive offer for any territory’, he adds. Other new titles for this season are Papá Mono (20x45’), comedy about a single mother that that lives with his son and his father: a Vertigo, game show fanatic about parties, women, alcohol, lazy and vivido... but deep down, he has a huge heart. And Irreversible (60x43’), unitary based on real muders. In addition, 13Sudmedia presents an important catalog of formats, films and documentary series of various producers that 13Sudmedia distributes in the world. While Comarex distributes successes of Channel 13 Chile as Las Vegas, Primera Dama, the reality Mundos Opuestos and the docu-reality Nadie está Libre.

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Mediaset Distribution: Mediaset Italia arrives The Queen of crime to US via DirecTV Mediaset Distribution, the distribution arm of Mediaset (Italy) led by Manuela Caputi, Head of International Sales, launches at MIPCOM a slate of crime and drama series where it stands Rosy Abate (5x100’ or 10x50’), where a woman that made a complete break with her criminal past, sees her life upside down after the past comes knocking at her door. Manuela Caputi, Head of International Sales While The Queen of Palermo (5x100’ or 10x50’) is a journey through the memories of Antimafia Squad to go over the whole story of Rosy Abate, one of the characters that, with her strong personality and intriguing transformations, enthralled millions of viewers. The early times, the strong bond with Claudia Mares, the rise to power, the prison and then the painful events tied to his beloved child Leonardo…All in sight of the new series dedicated to her. The third season of the mistery series Tuscan Passion (10x80’ or 20x40’) has developed without Aurora that everybody believed dead. But in the fourth season Aurora is back and we’ll discover why she had to disappear for so long. Once again, it’s all set in the rich vineyards of a superb Tuscan countryside, which is only perfect… on the surface. Lastly, are The Immature, the series (8x80’ or 16x40’), based on the movies with the same name and where a group of friends must retake the final exam 20 years after finishing the high school. After the initial shock, they grasp the opportunity to meet again and cram together like they used to. And Donnavventura, reality show with 15 seasons and 2 spin-off where a group of young and fearless women are selected to form a team with one mission: to report from the most unexplored corners of the world. The Queen of Palermo, crime series Daniel Otaola, content distribution manager

Mediaset Italia continues to expand its global presence after the launch of the international channel through AT&T’s DirecTV in the US to any new or existing customer a la carte for USD10 a month with eligible base package. ‘Mediaset Italia will make the more than 17 million Italian Americans in the U.S. feel right at home,’ said Emma Brackett, VP, Content and Programming for AT&T. ‘We know there is a strong desire for quality programming from Italy and we’re excited to connect new and existing customers to more entertainment choices that reflect their culture and interests’. Mediaset Italia is a 24-hour Italian-language channel offering programming from Italy’s top channels: Canale 5, Italia 1 and Rete 4. Its programming schedule is strategically created to offer all the key primetime offerings from all three channels. Among the main titles are Striscia La Notizia, a satirical journalism program, half news, half entertainment; Squadra Mobile: Operazione Mafia Capitale, a police and investigation series with the legendary city cops squad; C’è Posta Per Te, a highly emotional show which has been running for the last 17 years; Caduta Libera, an early evening trivia show presented by Gerry Scotti, and TG5, one of the most watched news programs in Italy. ‘We are extremely proud to be the first Italian channel to be offered by the largest satellite service provider in the United States’ Squadra Mobile added Giorgio Giovetti, Head of Sales of Mediaset Italia. ‘This new agreement with DirecTV is a great opportunity to reach all the Italian communities all over the nation. We constantly work to offer the viewers an exciting TV experience bringing Striscia La Notizia, satirical them a piece of Italy.’ journalism program

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Globo: Rock stories

Globo (Brazil) recommends at MIPCOM a slate of telenovelas, series and feature films headed by Rock Story (135x60’), about former rock star who struggles to reinvent himself in his professional and personal life; Total Dreamer (130x60’), a modern “fairy tale” about a homeless girl who dreams of find the chances of her life around in a fashion modeling contest, and Time After Time (100x60’), a forbidden love story doomed to end tragically. In series, it stands Under Pressure (9x60’), set inside a chaotic emergency room in Rio de Janeiro; Jailers, awarded by the Grand Jury in MIPDrama Screenings 2017; Supermax (10x60’), Globo’s first original fiction series entirely produced in Spanish, and the miniseries The Brothers (10x60’), a family epic. Lastly are the feature films Magal and the Ants (90’), The eternal Son (86’), Alone Man (88’) and The Moving Forest (99’). 94 PRENSARIO INTERNATIONAL

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Bavaria: Das Boot

Bavaria Fernsehproduktion (Germany), Sky Deutschland and Sonar Entertainment started the shoot in Prague, La Rochelle, Malta and Munich its co-production series Das Boot, and added to the cast to Tom Wlaschiha (Game of Thrones), Vincent Kartheiser (Mad Men), James D’Arcy (MARVEL’s Agent Carter) and Thierry Frémont (Juste un regard). The eight-episode event series is inspired by the Oscar and Golden Globe nominated masterpiece by Wolfgang Petersen and LotharGünther Buchheim’s bestselling novel of the same name. Budgeted at approx. 26.5 million Euros, Das Boot will premiere end of 2018 in Sky territories Germany, Austria, Italy, UK and Ireland. Co-production partner Sonar Entertainment will handle international distribution in the rest of the world. PRENSARIO INTERNATIONAL 4


//// INFORME Especial Por Fabricio Ferrara

México: evolucionar en un contexto desafiante


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cias que pueda conectarse con las nuevas generaciones y plataformas, y el segundo es un canal con enfoque regional, que tiene como objetivo acercarse a cada una de las necesidades de cada Estado de la República. La llegada en octubre 2016 de Imagen TV, la tan esperada tercera cadena nacional, sacudió a los tradicionales competidores y los puso a repensar estrategias para liderar el mercados. Imagen TV no está solo. El Instituto Federal de Telecomunicaciones (IFT) sigue licitando frecuencias de TV a nivel regional y local, fortaleciendo a la TV mexicana en su conjunto. La más reciente le dio a Radio Centro, Grupo Multimedios y Telsusa varios canales regionales. El regulador mexicano entregará 148 nuevos canales, que cubren 124 plazas, gran parte de las cuales (123) quedaron desiertas en el primer proceso abierto por IFT. Radio Centro se quedó con una frecuencia en DF, mientras que Televisión Digital (Multimedios) se quedó con una señal en el área metropolitana de esa ciudad, con cobertura también en Jalisco, además de otras cinco estaciones de televisión en Guadalajara y su Área metropolitana. Multimedios llegará a los 45,9 millones de personas en 18 ciudades con TV abierta. La compañía que más señales obtuvo fue Telsusa, parte de un grupo que posee operaciones en TV abierta en Centro-

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Televisa apuesta apuesta por una renovación de la telenovela con producciones como En Tierra Salvajes, coproducida con Bambu (España), y suma adaptaciones de formatos internacionales como Mi Marido Tiene Familia (KBS Corea), que fue un éxito en Las Estrellas y Univisión

han invertido fuertemente en infraestructura, digital e internacionalización. Internamente, Televisa es quien ha mostrado mayores cambios en movimiento ejecutivos y estrategias. La unificación de las áreas de contenidos con Univisión, en manos de Issac Lee, y la llegada de Rosy Ocampo como VP Corporativa de Contenidos, le han dado nuevos aires al gigante. Azteca está produciendo nuevos conceptos e incorporando temáticas nunca antes tratadas en la televisión mexicana. Su propio CEO, Benjamin Salinas Sada, lleva adelante una agresiva estrategia de expansión internacional que le ha permitido no solo ganar mercados y sumar producto en plataformas como blim/Televisa, Netflix y Amazon, sino también invitar a productoras internacionales a coproducir con México. Ha sido clave en ese aspecto la devaluación de septiembre de 2016, que le ha permitido ser más competitivo, bajando costos de producción sin perder calidad. En ese sentido, el mapa de productoras independientes ha seguido incrementándose en número junto con proyectos que llaman cada vez más la atención internacional. Otra importante noticia de la empresa fue el lanzamiento en marzo de adn40 y a+. La primera busca ser un referente nacional de la noti-

Aurelio Valcárcel, director general de ficción de Imagen TV


Sus grandes referentes, Televisa y Azteca, han venido transformando su estructura adaptándola a los tiempos que corren, mientras que

Ana Celia Urquidi, directora general de desarrollo estratégico y talentos, TV Azteca



Rosy Ocampo, VP corporativa de contenido de Televisa


TV Azteca está tras historias alternativas y coproducciones, como el caso de Las Malcriadas, y Rosario Tijeras con Sony, respectivamente

Ocampo ha encarado una nueva esMéxico: canales abiertos más vistos hogares con TV abierta vs. hogares con trategia basada en investigaciones de auTV de Paga diencia para conocer cómo han variado los gustos y hábitos de consumo. Siempre fiel 55% Las Estrellas al género de la telenovela, hoy son otras 61% las temáticas elegidas y los esquemas de 51% Azteca Trece 54% producción. 44% Explica a Prensario: ‘Estamos ante una Canal 5 38% profunda transformación de la industria y 38% Azteca 7 desde nuestra parte nos estamos centrando 37% alrededor de la audiencia, que sabemos se 11% Canal 11 ha vuelto cada vez más exigente. Estamos 9% 7% abriendo las puertas a nuevos creadoGala TV 8% Cifras res, productores y directores. Seguimos 6% Canal 22 La Encuesta Nacional de Consumo de Concentrados en el melodrama: nuestras au6% Hogares con TV Abierta tenidos Audiovisuales del IFT arrojó cifras indiencias responden a este género, aunque 5% Proyecto 40 Hogares con TV Paga 3% teresantes: el 96% dice recibir señales de TV, obviamente renovado. En él estamos tra5% con un promedio de 1.9 aparatos por hogar, tando temáticas emergentes, donde nues- Multimedios 4% siendo 1.2 el promedio de televisores digitales. tros personajes están más alineados a la 3% Imagen TV El porcentaje de personas que dijo contar con vida real’. 3% TV de paga fue 49%, mientras que el 74% de ‘Somos líderes no sólo para las au0 10 20 30 40 50 60 los entrevistados reporta consumir contenido en diencias adultas, sino también una buena Fuente: ENCCA 2016 TV Abierta. De hecho el 65% de las personas parte de jóvenes. La doble vida de Estela que tienen contratado un plan de TV de paga, Carrillo tiene confirmada su segunda temconsumen mayoritariamente TV abierta. telenovela, especialmente la de Las Estrellas’. porada, que vino como parte de una investigaPelículas, series y deportes son los géneros ‘Mi marido tiene familia, basada en un drama ción en USA, donde se indagó en los temas que favoritos de canales exclusivos de TV de paga. de Corea (KBS) tiene una conformación de aupueden ser de interés para audiencias de USA Sobre Internet, el porcentaje de quienes dijeron diencia muy variada que mezcla niños, jóvenes y México. Otro ejemplo es La Rosa de Guadaconsumirlos se ubicó en 26%. Los favoritos y adultos, todos sentados viendo el mismo prolupe, un unitario que presenta en cada episodio son videos musicales (45%), películas (39%) y grama que es parte de la gran fuerza que sigue un caso diferente, basado en una investigación series (35%). El móvil es el más utilizado para teniendo la televisión’, explica Ocampo. actual. Ha sido tal el éxito, que se está vendienconsumir contenidos en esa plataforma. YouTuUnivisión la estrenó en agosto y superó en do el formato a otros países’, añade. be y Netflix son las principales, mientras que un audiencia a ABC y FOX: atrajo a 1,7 millones Sobre el mercado internacional, opina: ‘To20% juegan videojuegos. de espectadores totales, 737.000 adultos 18-49 dos buscan nuevas temáticas pero el melodrama y 343.000 adultos 18-34. ‘Hemos participado sigue siendo el género en proyectos como La Piloto de W Studios que apela a todas las México: canales exclusivos de TV de paga más vistos (Patricio Willis + Univisión) con Lemon audiencias de manera Films, y El Chapo, para Netflix. Estamos invoglobal. Corea, Turquía, 25 22% 22% lucrados en la historia original de Arturo Pérez Grecia o Portugal están 20 Reverte (La reina del sur), que se llama El ultiapostando por él con 14% mo dragón, y se empezará a grabar a principios gran éxito, evolucio15 11% 11% 11% 10% 10% del próximo año’, comenta. nándolo y dirigiéndolo 10 8% 8% 8% 7% 7% Televisa trabajó junto a Bambú (España) en a lo que las audiencias 5 la telenovela En tierras salvajes, con producestán buscando. Está la ción de Salvador Mejía en México y un gran creencia de que las auelenco. Registró en su estreno 22.44% de share, diencias jóvenes no essegún Nielsen Ibope México, superando a su tán viendo la TV, pero competencia por 196.04%. ‘Definitivamente, nosotros no lo vemos no hay fórmulas. Estamos abiertos a encarar así: entre los géneros cualquier esquema de coproducción, co-crea que más ven, está la Fuente: ENCCA 2016 cov ery

Una de las razones por las cuales México atraviesa un buen momento es que se ha consolidado como una de las principales plazas productoras en Latinoamérica, para todas las plataformas y ventanas, ofreciendo una gran alternativa regional por costo-beneficio. Su tamaño de mercado y torta publicitaria, la más importante de la región, es otra razón de peso. Representa una gran industria audiovisual, no sólo en televisión, también en cine, publicidad y, sobre todo, en servicios, rubro en el que el país se ha especializados: doblaje, VXH, animación, VR/AR, etc. Este momento es igualmente desafiante, y ha venido atravesando distintos períodos que lo han marcado: la telenovela, género emblema, ha venido transformándose (no sólo en México) en longitud, estética y contenido. Es un género en constante mutación.

américa (que podría ser Remigio Ángel González), que se quedó con 10 frecuencias que le permitirían crear una cadena regional. Otra arista importante ha sido la TV de paga, donde México superó en base de suscriptores al otrora líder Brasil, totalizando 20,5 millones de clientes hacia fines de 2016, según el IFT. Esa expansión en audiencia se vio reflejada, también, en una programación más especifica. Es una gran tendencia en toda la región que las señales de TV paga estén produciendo más contenido original y localizado, ofreciendo más proyectos a los productores locales. Un gran circulo virtuoso.


A pesar de los grandes retos que enfrenta, el siempre atractivo mercado mexicano está atravesando hoy un gran momento: nuevos canales, más producción original y plataformas. Coproducciones e internalización, el futuro.



//// INFORME Especial

México: evolucionar en un contexto desafiante ción o co-realización’, dice. Sobre la estrategia digital, señala: ‘Hay estrategias diferentes para TV abierta, TV paga y OTT; nosotros estamos concentrados en la primera, haciendo una serie de estudios y viendo qué tipo de contenidos vamos a producir dependiendo del horarios. De manera paralela, se está haciendo una estrategia en la parte digitalárea liderada por Luis Soto, del equipo de Isaac Lee, que están enfocados en una estrategia digital muy poderosa’. Entre los principales dramas, están El vuelo de la Victoria, una serie aspiracional producida por Nathalie Lartilleux que estrenó el 10 de julio en Las Estrellas con 28,5% de share. ‘Estamos preparando para las 8pm una telenovela original que habla del nuevo rol que tienen los hombres en la sociedad, Papa a toda madre, que estará al aire el 23 de octubre. Y también la biopic Hoy voy a cambiar de la cantante mexicana Lupita D’Alessio, que marcó 26.92% de share, según Nielsen Ibope Mexico y un 333.48% más que su competidor principal’, añade. ‘Estamos formando una nueva barra de comedia y estamos preparando series que se están terminando, como Sincronía del director mexicano Gustavo Loza que actualmente está en blim, pero se estrenará próximamente en TV abierta. Estamos trabajando de manera muy puntual con todo tipo de desarrollos’, completa. Ana Celia Urquidi, directora general de desarrollo estratégico y talentos, que llegó a TV Azteca de la mano de Joshua Mintz, resaltó

La llegada de Imagen Televisión movió el mercado local, sumando varias producciones originales, especialmente biopics como Paquita la del Barrio, con Sony, El Capitán, con Estudios Teleméxico 100 PRENSARIO INTERNATIONAL

que este año el gran objetivo ha sido desarrollar contenidos que ‘impacten’ en la audiencia, especialmente series de alta factura como La Fiscal de Hierro, pero también con producciones dramáticas que incluyan elementos como misterio o ciencia ficción. ‘Hay un gran deseo, en el mercado y nosotros, de hacer que la industria crezca: todo nuestro esfuerzo está en generar una evolución positiva para los próximos años. Hoy la tendencia en México va desde la biopic hasta series de misterio: buscamos historias que tengan un impacto en la audiencia; que generen empatía como por ejemplo el empoderamiento de la mujer o la ciencia ficción. La familia/mujer es una temática recurrente’, explica. Es prioridad de la empresa atender al público joven que tiene otras reglas y estrategias de consumo de contenidos. ‘Está claro que demandan otro tipo de entretenimiento y hay que pensar en ellos en la planificación programática. Tienen más acceso a la información y por tanto es una audiencia más sofisticada. Tienen la capacidad de ver varios contenidos al mismo tiempo’, aporta. ‘Los millenials sí miran TV en México’, subraya Urquidi. Y agrega: ‘Ya no sólo se compite con canales abiertos, sino con todas las plataformas al mismo tiempo. Y ese es un enorme desafío para nosotros’. Urquidi destacó la llegada de Rosario Tijeras, realizada con Sony y Las Malcriadas. ‘Estamos en permanente búsqueda de historias alternativas y la coproducción es un tema del que estamos muy pendientes. Queremos incrementar nuestra presencia en ese mercado a través de ella’. Sobre el mercado mexicano, concluye: ‘Tenemos varias ventajas comparativas que se dan en un contexto del boom de la producción: se están realizando en México unas 22 series de ficción en simultáneo. El mercado ha florecido en talento, locaciones e infraestructura, ubicado estratégicamente a nivel geográfico y recursos materiales. Hay un presente promisorio y esperamos un gran futuro’. Imagen TV celebra este mes un año en el mercado. Y no ha sido precisamente un año en el que ha pasado desapercibido: la llegada del tercer canal movió el tablero y tanto Televisa como Azteca han debido adaptarse y buscar estrategias alternativas en un mercado más competitivo. Si bien el canal del Grupo Imagen aún tiene más contenido enlatado que producción propia, en el área de ficción ha estado muy activo con acuerdos estratégicos con distintos jugadores regionales. Sus primeras dos series originales fueron Vuelve Temprano, basado en un formato de TVN Chile, y Perseguidos, la

México: plataformas con las que más accede a contenidos en Internet





Facebook live


Claro Video



4% 0

20 40 60 80 100

Fuente: ENCCA 2016

adaptación de El Capo de FoxTelecolombia. Produjo también Paquita, la del Barrio, realizado junto con Sony y presentó su cuarta y quinta producción. Primero, El Capitán, de Estudios TeleMéxico, que estrenó en agosto. Y segundo, la adaptación local de Señores Papis (Telefe, Argentina): ¡Muy padres! ‘La ficción original es una prioridad, y la estamos complementando con grandes producciones extranjeras, como el caso de Moisés y los 10 mandamientos, cuyo suceso nos permitió ubicarnos en segunda posición del prime time algunos días de la semana’, describe Aurelio Varcárcel, director general de ficción. El ejecutivo resalta que también está a la búsqueda de coproducciones internacionales. ‘Tenemos planes de general tres proyectos grandes por año y en México están dadas las condiciones para hacerlos’, subraya. En ese sentido, destaca el ‘gran desarrollo’ que vienen mostrando las productoras independientes, el talento delante y detrás de cámara, y las locaciones. ‘En tema costos el país está muy competitivo y eso ha abierto posibilidades para que grandes productores internacionales vengan a producir aquí. Naturalmente, la coproducción es cada vez más una opción más interesante’, completa. En cuanto a las tendencias, Valcárcel coincide con Urquidi en relación a que las biopics están funcionando bien, pero es cauto al indicar que ‘debe ser medida’ el número que se produce para ‘evitar la saturación del público’. Y completa: ‘Nuestra llegada ofreció una alternativa real a la audiencia mexicana que está ávida de nuevos contenidos. Al mismo tiempo, hay un cambio sustancial en el consumo. Hay una necesidad palpable de romper con lo tradicional, y nuestro rol es ser un entretenimiento alternativo’.


//// Reportaje Especial / Broadcasters

TVN, Chile: ‘La coproducción es un camino sin retorno’ El próximo diciembre, Jaime de Aguirre cumplirá un año al frente de TVN, televisora a la que ha regresado 15 años después para tomar la dirección ejecutiva y, temporalmente, la dirección de programación. Con su regreso, el canal retoma la senda del drama, que lo hizo prestigioso local e internacionalmente. Tras 25 años de trayectoria en la industria, y habiendo liderado las áreas de programación y contenidos de TVN (1991-2002), Chilevisión (2002-2015) y Canal 13 (AbrilDiciembre 2016), Jaime de Aguirre tiene como una de sus prioridades rearmar el área dramática para posicionar nuevamente a la señal pública, que sigue en el cuarto puesto del ranking de canales en Chile. A fines de agosto, de Aguirre informó nuevos cambios, que incluyó el regreso de Eduardo Cabezas, nuevamente como gerente de Producción. Catalina Yudin Coopman, como subgerente de Planificación y Proyectos dependiente de la Subdirección de Programación, que está a cargo de Jorge Foster Villalobos. Con estos cambios el ejecutivo pone el drama en el centro de las escena con el objetivo de que el canal recupere el liderazgo del mercado. ‘Somos una empresa que está en marcha, que está funcionando y bien, independiente de lo que salga en los qué pasa de la vida. Estamos trabajando de forma permanente, con una visión de futuro, para organizar las cosas y adaptarnos a las nuevas circunstancias del mercado’, afirmó recientemente a La Tercera. Entre los nuevos proyectos hay dos telenovelas, una vespertina, Wena profe, que estrenó el 25 de septiembre a las 8pm con la producción ejecutiva de Mauricio Campos; y otra nocturna, ¿Dime quién fue?. Pero el

Wena Profe, nueva apuesta para el access prime time 102 PRENSARIO INTERNATIONAL

canal también busca aggiornarse a los nuevos tiempos, por eso de Aguirre está enfocado a la coproducción. Durante su participación en junio en Conecta Fiction (Santiago de Compostela, España), señaló en un panel: ‘La necesidad es una clave: todos nuestro países sufren problemas similares, especialmente por la falta de recursos. La necesidad puede ser también por la falta de una historia. La coproducción permite ampliar los horizontes de esa historia’. ‘La televisión fue tan importante entre los ‘60 y ‘90 que nosotros nos quedamos acostumbrados a ser autorreferenciales. Creemos que el mundo empieza y termina por lo que dice la TV. Pero los tiempos actuales nos obliJaime de Aguirre, director ejecutivo de TVN gan a tener una actitud más generosa, ‘Estamos todos aprendiendo a coproducir más humilde y que “aprendamos a y este es un camino que no pareciera no tener aprender”. Y en eso, la coproducción retorno. Si no cooperamos nos van a pasar por es una escuela avanzadísima’. arriba todas las otras plataformas que ya, natu‘La confianza es un tema central. ralmente con la tecnología están evolucionanSin ella, nada va a funcionar. Debe hado’, concluyó de Aguirre. ber una relación equilibrada entre las partes basada en la validación mutua y el trabajo en equipo, con las reglas del juego claras en la toma de decisiones artísticas. Desde ya un conocimiento del mercado: si vamos a contar una historia debemos conocer sus requerimientos’, completó. TVN ha realizado tres coproducciones, todas en 2015: Sitiados, con el Consejo Nacional de Televisión (CNTV) y FOX; Dueños Sitiados ha sido la coproducción más exitosa de la historia de del Paraíso con Telemundo; y Bichos Raros TVN. Fue ganadora de un fondo del CNTV y contó con FOX de Parox (Chile) con Atuel Producciones y Networks Group como coproductor el INCAA (Argentina) para Chile: evolución del rating hogar, TVN y Televisión Pública por canales (Enero-Agosto 2017) Argentina (TPA). ‘Sitiados fue un proyecto ga12 nador del programa de fomenMega to del CNTV, al que se sumó 10 FOX y otros partners locales. En total, se invirtieron USD 8 Canal 13 2,5 millones donde el 65% fue Chilevision del país y un 35% de FOX. Fue una producción cara para noso6 tros pero con un rendimiento TVN muy bueno en TV de paga (1.5 puntos en cable Premium en Enero Febrero Marzo Abril Mayo Junio Julio Agosto Argentina y Chile), pero muy Fuente: Kantar Ibope Media Chile magro en TV abierta’.


//// ReportajeS EspecialES / broadcasterS

Artear, la expresión TPA, multiplataforma de la convergencia y alternativa Artear (Argentina), conglomerado de medios del Grupo Clarín, inauguró en mayo el Centro de Contenidos Multiplataforma, uno de los más avanzados de Latinoamérica que integra en 2.600m2 sus canales abiertos eltrece (CABA) y eldoce (Córdoba), las ocho señales de TV paga (CiudadMagazine, TN, Volver, FashionTV, Quiero Música, Metro, Canal á y América Sports), la plataforma de cocina en redes sociales, Cucinare. y los sitios Eduardo Fernández, gerente de producción de Artear web y redes sociales.Trabajan 300 personas. con el Centro de Contenidos Es una redacción concebida bajo el concepMultiplataforma de fondo to de “redacción escénica”, pensada para salir en vivo en cualquier plataforma, desde cualquier sector. Tiene 11 oficinas, 20 islas de edición y 4 mini estudios con 14 cámaras robóticas. Hay dos pantallas gigantes, una de ellas de 12x4mts. que emiten canales internacionales. Eduardo Fernández, gerente de producción: ‘Las redes sociales y plataformas digitales están en su máxima expresión. Tenemos un gran portfolio y músculo más entrenado para la generación de contenidos multiplataforma. La integración aquí es a todo nivel, infraestructura e ingeniería, pero también periodística’. El contenido de video digital es un elemento clave, como también los son los contenidos 360 o VR. ‘Tenemos unos 50 contenidos en esa tecnología, con un equipo específico de desarrollo’, comenta. En cuanto a eltrece, sus dos programas líderes del prime time, la telenovela Las Estrellas (16 puntos de rating) y Showmatch (18 puntos de rating), son buenos ejemplos de esta integración. ‘Estamos teniendo un buen año a nivel de audiencia, a pesar de que el encendido de la TV abierta sigue cayendo. Sin embargo, notamos que las plataformas digitales están impactando más en la TV paga’. Fernández resalta que sigue analizando ficción extranjera, abriendo nuevos horizontes. ‘Turquía muestra un enorme caudal de, pero vimos buenas series de Rusia y Filipinas. Las románticas son las que más funcionan, y son las que más buscamos en los mercados’, finaliza. Argentina: rating hogares, por canales (Enero-Agosto, 2017)

10 8 6 4

Source: Kantar Ibope Media


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Martín Teitelbaum, gerente artístico y de producción de la Televisión Pública Argentina (TPA), describe a Prensario el buen momento del pubcaster con la producción de su primera ficción 100% producida in house, Cuéntame cómo paso, basada en el formato de RTVE (España), la apuesta por los eventos en vivo y el desarrollo de nuevos contenidos digitales nativos. Martín Teitelbaum, gerente artístico y de producción de la Televisión En febrero de 2016, TPA renovó Pública Argentina (TPA) autoridades con la llegada del gobierno del presidente, Mauricio Macri. Su director ejecutivo, Horacio Levin, designó a Teitelbaum como gerente artístico, ambos con amplia experiencia en la producción independiente desde Promofilm. ‘El desafío es llevar adelante una grilla programática lo más equilibrada posible, que contemple a las mayorías, pero también a las minorías. Somos concientes de las enormes oportunidades artísticas que ese desafío tiene implícito’. El canal tiene 1.200 empleados estables y es el único con llegada a cada rincón del país. ‘El nuevo equipo directivo cambió es la matriz de trabajo: con ese volumen de gente se puede generar una TV de calidad, desde adentro’. Son pocos los contenidos coproducidos, el más importante en su novena temporada es Cocineros Argentinos (Kapow). Una estrategica clave ha sido la multipantalla. ‘La TV no se transformó, lo que sí cambió es que dejó de ser el monopolio de los contenidos. Una TV abierta, y sobre todo pública, que no se adapta a los nuevos tiempo entra en crisis. Nuestro contenido está disponible en tres canales de streaming en la web’. TPA es una de las televisoras públicas pioneras en el desarrollo de contenido nativo digital con De otro planeta, producido por La Maldita (Según Roxi). ‘Somos un canal generalista con contenidos que no hay en canales comerciales. En 2017 crecimos y mejoramos en muchos aspectos. Estamos felices con programas como Ronda de Editores, con editores de diarios nacionales de todos las vertientes políticas, y Todo tiene un Porqué (Mandarina)’. Cuéntame (80 episodios) es uno de los grandes logros, producido 100% con recursos del canal. Empleó a 100 actores y 1.000 extras, con 200 empleados del canal dedicados a pleno. ¿Costos? ‘Un 25% menos que el promedio del mercado argentino’, responde, sin precisar cifras. ‘Es una ficción de época, no política. No pretende contar la historia argentina ni una versión de ella’, Cuéntame cómo pasó, primera ficción 100% producompleta. cida in house, basada en el formato de RTVE

INCAA contributes to the Argentine audiovisual industry Volume invested in the support of the Argentine audiovisual industry – TV & other media (2016-2017)

• Total investment in TV & other media support: USD 21.5 million • Total of productions resulting from support: 284 • Investment in federal audiovisual industry development (40% of the total invest in awards): USD 8.63 million • Number of productions resulting from federal industry support: 184 awards • Total private investment in productions supported by the INCAA: USD 17.7 million Fernando Juan Lima, VP, and Ralph Haiek, president at INCAA, with Teresa Costantini, Argentine director and actress, and Pablo Avelluto, Secretary of Culture

The second edition of the “Snack & Screen” exhibition sessions, where new Argentine product will be shown to about 100 buyers from around the world, promises to be one of the highlights at MIPCOM this year. The presentation is hosted by the Instituto Nacional de Cine y Artes Audiovisuales (National Cinema and Audiovisual Arts Institute, INCAA) and the Agencia Argentina de Inversiones y Comercio Exterior (Investment & Foreign Trade Agency); it will be held on Monday 16 at 12pm-2.30pm at the Verrière Californie, Palais 5. Product from ten selected production companies will be shown: two animation titles, WawiPox (Can Can Club) and Confite (Artan Animation); and series Alquimia para Ana (SDO/Smilehood), El Bosque (Prisma), El Divorcio de Romeo. El Divorcio de Julieta (11 Loops/Framzero), La última Cena (Germina Films), Las Vegas, Mendoza (Peca Cine), Legajo 13 (Los Díaz), Todo lo que me gusta (SA Cine) and Lore Love (El Calefón). In 2016, “Snack and Screen” has been highly successful: four of the eight projects presented at it during MIPCOM received financing from private companies after the presentation. This year, INCAA has launched several funding contests for fiction series, animation, documentaries and web series as well as for content development. It is attending several trade shows, among them the longstanding MIPs in Cannes, but also new ones such as Conecta Fiction (Spain), where Argentina has been Country of Honour, hosting panels, press activities and cocktails as well as issuing announcements.

Ralph Haiek, president at INCAA, during the welcoming cocktail at Conecta Fiction 2017 sorrounded by Dolores Meijomín Rodríguez, Agadic; Jesus Oitaven, secretary general of the Counseling of Xunta de Galicia; Paola Pannicelli, Rai Fiction (Italy); Rafael Bardem, RTVE; Julian Izquierdo, ICEX; and Geraldine Gonard, director of the market 106 PRENSARIO INTERNATIONAL

• Total audiovisual industry investment: private + INCAA support: USD 39.15 million • Direct jobs at audiovisual industry: 13,000 • Amount paid to direct jobs at audiovisual industry: USD 6.44 million • Synergic effect on economy of INCAA support (direct + indirect): USD 21.5 million • Tax revenue effect of INCAA support: USD 3.15 million • Estimated budget for 2018 contests: USD 10.3 million Source: Subgerencia de Producción de Contenidos - INCAA

INCAA president Ralph Haiek asserts: ‘Within the continuity of our contribution to the Argentine audiovisual industry, we are introducing a new concept, predictability. We are calling all those interested in applying to two contests per year, covering all the development and production process, from the original idea and its deployment, to the final screening within the country and abroad. And we offer these opportunities with a federal approach, making them available to anyone in any part of Argentina offering ideas and work potential; to obtain this, in August we started delivering our workshops by streaming over the Internet, creating content that can be later retrieved at any time’. ‘We had noticed that, in many cases, the participants at our contests have not developed strongly enough their project; many producers hurried to start shooting without having “digested” enough the script and the production planning. Under our new proposal, we offer tools that help the content creators to solve certain problems; such is the case with INCAA En Línea (INCAA Online) which allows those who live anywhere in the country to solve the problems they might have without the need to travel to Buenos Aires City; and, we offer successful live tutorials online, which allow more people to get acquainted with our proposals; the first tutorial delivered by streaming has been watched by 230 people and was later viewed by more that 2,000 people on the Web’, he asserts. ‘Within the current dynamics, the INCAA does not retain intellectual rights over the content that is being produced, which makes it easier for the producer to market these rights on a worldwide basis’, adds Haiek. Among the contest winning projects there are contents that have already garnered esteem among the audiences, such as Un Gallo Para Esculapio, a drama series co-produced by Turner Latin America and Underground that has been premiered panregionally on TNT on August 15, and the day after on FTA Telefe

and Cablevision’s Flow OTT. Sandro De America, another winner, is a huge project by Grupo Telefilms’ TV production arm The Magic Eye in coproduction with Telefe, to be premiered in early 2018. The Magic Eye is in charge of distributing the series for pan-regional Pay TV and OTT; the broadcaster has the FTA rights for Latin America. Each of 13 episodes of this series, directed by Uruguayan Adrian Israel Caetano (El Marginal), cost over USD 300,000. ‘On the other hand, a new Cine.AR contest will support by acquisition the production of a feature television movie and a four-episode miniseries for our digital platform Cine.AR Play, with one year of exclusivity. ‘In this co-production era, the INCAA strategy is appealing and is justified by several reasons: on the one hand, because there is demand for co-productions at an international level; additional production quality is obtained, joint ventures with foreign associates are favored, and the resulting content is more attractive according to worldwide standards. This has been one of the reasons for the success of our venue Fiction Factory 2016, which will be strengthened even more and expanded this year, and the achievements at the recent Conecta Fiction exhibition in Santiago de Compostela, Spain’, remarks Haiek. ‘Another positive factor is that a larger variety of produced content is obtainable, with emphasis on fiction but also documentaries and fantasy titles, as seen at the “Blood Window” exhibition, which will be held once again later this year at the Ventana Sur conference’. ‘No less important is that we are expanding the number of movie theatres where those movies are exhibited, adding ten new this year to the existing 82 and expecting to surpass the one hundred mark in 2018. It is remarkable to comment that we are adding the De La Torre Theatre in the coastal city of Pinamar, where so far there have been only two theatres, transforming into another Espacio INCAA theatre, with close to 300 seats’. ‘Our “incubator” is another pillar for our ongoing strategy, regarding the development and training of new talent on a federal level. At this point is where we conduct the following and support to new projects, from the writing of the script to the shooting, aiming at what we call the Entrepreneur World. We had noticed that, in the case of documentaries, for instance, about 80 titles are produced every year but these contents have not achieved an adequate entry in the exhibition world’, adds Haiek. ‘What we are doing now is going along the process with those creators that have been initially selected at the contests during eight months. We start with 48 participants, two for each Argentine province, from which 24 are chosen to participate at

Ralph Haiek, and Bernardo Bergeret, manager at Film Commission INCAA, with the Argentine producers participating at Conecta Fiction in Santiago de Compostela, Spain

Share of investment in development, series and web, by genre (2016-2017) Development - Animation (1%) Development -Documentary (1%)


Development - Web (2%)

Series (fiction & docu-fiction)

Telefilm + 4 Eps. Cine.AR (2.5%) Development - Fiction & Docu-fiction Series (documentary) Series (animation)

Industria Promotion (all genres)



5% 32%

6% 8% 9%


Series (web fiction) Prime Time - All Genres

Source: Subgerencia de Producción de Contenidos - INCAA

MAR DOC in front of an experts commission, which selects ten of them to a “excellence pitching” session, from which we expect five international-quality projects will emerge, against one or two as it has happened until now’. ‘The INCAA supplies up to 50% of the necessary funding and the presence at International festivals; this allows producers to cover a sizable part of the cost through international partners. It should be taken into account that the current production budget of a documentary requires an investment of about 130,000 dollars, reaching about 200,000 dollars if the project is very ambitious’. ‘This practice of supporting the development of content has been very successful in 2016 and we will continue it at this MIPCOM in Cannes; if we are successful in simplifying, updating and slashing costs, we will be able to be present at this type of worldwide venues with an important participation, and promote one of the exportable assets our country may showcase, backed by a policy of active State action and the existing local talent, as it may be seen on the Internet’. ‘The predictability concept is achieved through a three-year plan, from 2018 through 2020, that will open to our audiovisual creators the doors to international co-producers, which so far has been entangled, This is being achieved with support from the INCAA, tools such as INCAA Online and co-production agreements with several countries, as well as continued presence at the International festivals, cooperating to the execution of these projects with access to the production services and formality clarification through the Film Commissions’, affirms Haiek.

During Conecta Fiction 2017, Ralph Haiek, president at INCAA, and Roman Rodriguez Gonzales, counselor of culture, education and university management of Xunta de Galicia, signed a cooperation agreement between Argentina and Galicia to jointly develop movie and web series projects PRENSARIO INTERNATIONAL 107


//// Reportajes Especiales / TV DE PAGA

AMC: 100% en español y relevante

Mandi Ciriza, SVP de Programación y Adquisiciones de AMC Networks International Iberia & Latin America, hace a Prensario un balance del primer semestre de 2017 para los canales de lifestyle del grupo, con una fuerte apuesta por su expansión en TV paga y el crecimiento de su cartera de contenidos propios así como en ventas publicitarias. De acuerdo con Ciriza, durante el Mandi Ciriza, SVP de Programación primer semestre del año, los ratings y Adquisiciones de AMC Networks International Iberia & Latin America interanuales aumentaron 29% a nivel panregional, por encima del 3% de crecimiento del mercado de TV Paga. Además, la distribución creció 17% y los ingresos por publicidad un 20%, con El Gourmet y Más Chic, como gran factor de dicho impulso. ‘Estos canales se distinguen en el mercado por sus producciones originales 100% en español que han logrado cautivar a las audiencias latinoamericanas. Así, en el primer semestre del 2017, El Gourmet incrementó su audiencia panregional en horario estelar en 38% entre su público objetivo de mujeres 25-49, mientras que Más Chic obtuvo importantes incrementos interanuales de sintonía entre su audiencia objetivo de mujeres de 25-49 años en mercados clave de la región como México y Perú. En ambos casos, la relevancia local de nuestras producciones propias sigue siendo el motor del crecimiento de El Gourmet y Más Chic en la región’, enfatiza. El desarrollo de contenido original se ha vuelto clave de expansión. ‘No solo producimos localmente más que cualquier otro canal del género; también contamos con casi dos décadas de experiencia en el área. El Gourmet es el primer canal de cocina lanzado en la región, con más de 17 años, y es la única señal de TV Paga con contenidos 100% en español de los cuales más del 90% es producido en español original’, completa. Viste tu Fiesta (Más Chic)

20 años de E!: ‘Inmediatez y potencia de marca’ E! Entertainment, señal del grupo NBCUniversal dedicado al mundo de las celebrities y farándula, festejó en Buenos Aires sus 20 años en la región en un evento que contó con la presencia de ejecutivos de la industria y figuras del entretenimiento. Según Klaudia Bermúdez-Key, SVP y general manager de NBCUniversal para América Latina, a lo largo de estas dos décadas, uno de los camKaren Barroeta y Klaudia Bermúdez-Key, bios más importantes se relaciona con ambas de NBCUniversal la inmediatez de la difusión de noticias. ‘Hace 20 años se debía esperar de 24 a 48 horas a que se publique una noticia para enterarse qué estaba pasando. Hoy en día esa noticia es simultánea al momento en que transcurre la misma acción; y nosotros tuvimos que adaptarnos a esa inmediatez y esa necesidad de la audiencia de enterarse de todo lo que pasa en el momento que pasa’. Para ello, la señal apostó por el crecimiento de su publisher Eonline Latino, que hoy cuenta con más de 6 millones de seguidores y se ha convertido en un referente ‘por la validad de sus noticias así como su credibilidad, efecto de estar regidos por NBC News Corp. y trabajar sobre reglas estrictas en lo periodístico’, dice. ‘Tenemos acceso a todos los recursos, pero especialmente nos ha permitido llevar la marca a un nivel más internacional y repotenciado’. Para la ejecutiva, otro de los cambios está relacionado con la necesidad de una ‘relevancia mayor’ para con las audiencias: ‘Empezamos a hacer formatos exitosos, adaptándolos al mercado latino y siguiendo estrategias similares de otras señales del grupo’, completan. Cámbiame el Look

MTV: el amor en tiempos de apps

MTV inició en Miami la producción de su nuevo show de citas SwipeDate, que describe el amor en tiempos de Apps, según destaca a Tiago Worcman, SVP y brand manager de LatAm y Brasil. ‘El formato multiplataforma viene a mostrar cómo los jóvenes buscan y prueban opciones románticas. El amor en la juventud es un tema universal, sólo que ahora se usan las aplicaciones para encontrar pareja, antes era en los bares y boliches’, repasa Worcman. ‘La generación joven consume todo: los ratings de TV no han bajado, lo que hay es un triple consumo de contenido: ven TV, Facebook y Apps a la vez, y esa magia de consumo en 3D la trasladamos al set. Para asegurar este resultado, también estamos produciendo 108 PRENSARIO INTERNATIONAL

formatos de corta duración que nutrirán los contenidos específicos para redes sociales’, agrega. MTV cuenta con más de 13 millones de seguidores en redes sociales y es un público joven que tiene hábitos muy Tiago Worcman, SVP y brand mandefinidos. ‘Las personas son leales al ager para América Latina y Brasil contenido, no a las marcas; por eso nos esforzarnos en entender lo que les gusta y producirlo con el lenguaje particular de cada plataforma: TV, redes sociales o aplicaciones, cada una de ellas tiene producción en su propio formato’, finaliza Worcman.


//// INFORME ESPECiAL / DIGITAL Por Alejandro J. Rojas, Regional Director – Parrot Analytics (ale@parrotanalytics.com)

Navegando los gustos del televidente LatAm SVOD Genre Trends es una presentación exclusiva de Parrots Analytics para Prensario que contempla tendencias en géneros y subgéneros que la consultora ha registrado en Argentina, Brazil, Chile, Colombia, Ecuadro, México Panamá, Paraguay, Perú, Uruguay y Venezuela. Es natural para el televidente de hoy navegar en Internet para conocer más acerca de la oferta de contenido existente en canales y plataformas OTT. Búsquedas en Google que llevan a ver trailers de programas de TV, en muchas ocasiones, señalan el inicio del viaje del consumidor o consumer journey. Más adelante, dicho viaje puede incluir comentarios e interacciones en redes sociales y aún mayores descargas de contenido audiovisual en sitios de streaming. Así como los desperdicios que dejamos en dispensadores de basura dan un buen indicio de los productos que consumimos, el rastro digital que dejan las audiencias al consumir contenido permite entender los gustos y preferencias de cada público. En Latinoamérica hay 350 millones de usuarios de Internet, y millones de ellos se conectan todos los días para expresar su demanda por contenido televisivo. Expresan su demanda cuando escriben comentarios sobre sus programas favoritos en redes sociales, visitan blogs o páginas informativas como Wikipedia o descargan episodios completos vía plataformas de streaming. A través de la infraestructura de “Big Data” que hemos desarrollado en Parrot Analytics, podemos ver diariamente como la demanda de cada programa varía, independientemente si el programa está al aire o no en canales de televisión lineal. Este seguimiento diario también hace posible levantar las tendencias en los gustos y preferencias del consumidor según género y sub-género de los miles de programas de TV que medimos a nivel global. Por ejemplo, si nos limitamos a observar el comportamiento de programas originales de plataformas SVOD en América Latina, podemos concluir que, en lo que va del 2017, drama y comedia son los géneros de TV que acaparan las preferencias de sus subscriptores. Sin embargo, es el género de drama, el que consigue mayor crecimiento, luego de la buena receptividad que ha logrado el drama juvenil 13 Reasons Why.

El subgénero drama juvenil pasó de ser inexistente a liderar las preferencias en Latinoamérica, especialmente después de 13 Reasons Why, mientras que otros subgéneros que funcionan muy bien osn los de ciencia y ficción, impulsado por Sense8 y Stranger Things 110 PRENSARIO INTERNATIONAL

Es de hacer notar, que el sub-género drama juvenil pasó de ser inexistente a liderar las preferencias de ese público en cuestión de días. Entre otros sub-géneros que han despertado interés, podemos mencionar al de ciencia y ficción, impulsado por anuncios importantes relacionados con Sense8 y Stranger Things. Miles de programas de TV ganan y pierden audiencias diariamente. Su medición empírica, sin el uso de paneles de audiencia, a través de una infraestructura de “Big Data”, facilita una visibilidad sin precedentes que es preciada a la hora de crear nuevas producciones, identificar oportunidades de crecimiento, organizar parrillas de programación y monetizar esfuerzos de venta de contenidos en mercados internacionales como MIPCOM. Principales géneros en SVOD de Latinoamérica (Enero-Agosto 2017)

Fuente: Parrot Analytics

Principales géneros en SVOD de Latinoamérica (Enero-Agosto 2017)

Fuente: Parrot Analytics


TV Record, Brasil: Moyses Macedo, director of content acquisitions, y Paulo Franco, head of programming and content (bordes) con el presentador Marcos Mion


Diego Guebel, director general de contenidos de Band Brasil

Azteca México & Disney: Heather Harris, Disney, Francisco Cordero, BTF Media; Bárbara Lorenzo, Disney; Juan Ignacio Ruiz de Ojeda, Diana Arboleya y Pedro Lascurain, Azteca (México); Fernando Barbosa, Disney Latin America; Fidela Navarro, directora, y Sergio García Ortiz, AZ

Doris Vogelmann, adquisiciones de V-Me USA, con EndemolShine Brazil: Juliana Argañaraz y Eduardo Gasso

Buyers from NBC Universo (US Hispanic): Jorge Balleste, VP, program acquisitions, Bilai Silar, SVP, programming, and Katsi Colon, senior counsel

Carlos Zuloaga, director, y Carlos Hulett, CEO de VIVOPlay

Broadcasters brasileños: Richard Vaun, adquisiciones de SBT; Nelson Sato, CEO de Sato Co., Elisa Ayub, de Band; y Rafael Ariais Bezerra, adquisiciones y nuevos contenidos de RedeTV!

Christopher Rubi y Pablo Corona, AMC, junto a Adriana Ibáñez, consejera de contenidos; Edna Orozco, directora de programación; Suzette Millo, PR; Juan Pablo Matarredona, director de adquisiciones, y Aurelio Valcárcel, director de producción de ficción y entretenimiento, todos de Imagen TV de México

Adquisiciones Pay TV: Marisol Amaya, Carolina Lightcap, Discovery; Victoria Pozzi y Maria Badillo, Viacom; Claudia Changui, Discovery

Buyers de NBCUniversal Channels Latin America: Milton Xavier, Grecia Waverly, Christopher Lorenzo, Klaudia Bermúdez-Kley, CEO, y Paulo Barata, CEO para Brasil, junto a Stephanie Pacheco, de CBS

Qubit.TV: Navi Campos, VP de marketing, Lilian Beriro, VP de adquisiciones, y Facundo de la Iglesia, CEO


Tatiana Peres, directora de adquisiciones, Paulo Egydio, programming manager, y Mauro Pereira de Mendonca, director de núcleo, todos de Globo

Augusto Rovegno, senior manager, Sr. content acquisition de Netflix

Rodrigo Guimaraes, Panorámica TV, Rachel Du Valle, Brazilian TV Producers, Karina Castellano, directora INCAA TV, Mariana Dell’ Elce, INCAA

MVS México: Alejandro Vázquez Vela, director de programación, y Ricardo De León, director de adquisiciones

ClaroVideo: Felipe Duque, compliance manager, Alberto Islas, director de programación y adquisiciones, y Jennifer Barany, manager de adquisiciones

HITN: Erika Vogt-Lowell, director of programming, Guillermo Sierra, head of TV and digital

Celeste Galarza, adquisiciones, y Jimmy Arteaga, VP Programming, ambos de Wapa TV Puerto Rico, con Claudia Silva, Televisa México

Verónica Velasco e Epigmenio Ibarra, Argos, México

Carlos Cusco y Carlos Abascal, de Ole Communications, con HBO Latin America: Roberto Hernandez, corporate VP; Silvia Fong, programming director; Gustavo Grossman, VP y general manager; Eva Villarreal, acquisitions executive, y Luis Peraza, EVP

Turner: Analía Pollero, content supervisor; Daniela Sterle, programming manager; Martin Cresco, programming director, Mariano Cesar, VP y channel manager, ambos para TNT; Francisco Morales, senior content acquisitions; Marcelo Tamburri, VP de Space; Mariana Sanjurjo, manager de contenidos, y Manuel Trancón, programming director

Kristopher Lorenzo, NBCUniversal, Pablo Codevilla y Eduardo Fernandez, Artear/eltrece (Argentina); Iván Sánchez, Global Agency, y Alberto Marangon, Unitel (Bolivia)

Telefé Argentina: Diego Rojas, nuevo jefe de contenidos de ficción; Mercedes Reinke, i+d; Guillermo Borensztein, Telefé Internacional; Dario Turovelzsky, director global de contenidos

Canadian broadcasters: Ian Oliveri, content buyer, Tele-Quebec; Julie Potterat, content director, and Brigitte Vincent, acquisition manager, both from Corus Media; and Dominique Chaloult, general manager, and André Béraud, head of TV drama and feature films, both from CBC Radio Canada

Buyers at Channel Zero (Canada): Agapy Kapouranis, EVP Lionsgate, with Jennifer Chen, VP programming; Sonya Davidson, acquisitions, and Romen Podzyhun, CEO

Mega Chile: Juan Ignacio Vicente, director de contenidos y ventas internacionales; Junior Volpato, ejecutivo de ventas de Globo; Pablo Alvarado, productor ejecutivo, y Patricio Hernández, CEO

Francisco Guijon Errazuriz, gerente de contenidos, programación y publicidad de VTR (Chile) y Stephan David, chief content and programming officer, Liberty Latin America & Caribbean

Ricardo Cruz y María del Rosario Iregui, RCN Colombia; María Angela de Jesús y Roberto Ríos, ambos de HBO; Beatriz O’Higgins, directora de programación, IVC Venezuela; Isabel Quintero, adquisiciones A+E

Zee Mundo, canal de bollywood en español: Javier Pérez Casella, Vp & general manager, y Rolando Figueroa, head of marketing

Telemundo: Olimpia Del Bocchio, marketing; Glenda Pacanins, SVP, programming & content, Perla Farias, SVP scripted development, Telemundo Studios

Elie Wahba, Fox, con Canal 13 de Chile: María de los Angeles Ortiz, gerente de adquisiciones, Sebastián Sánchez Ferrer, director de programación, y José Navarro, productor ejecutivo de contenidos

Agencias americanas conectando USA con América Latina: Crossover Entertainment: George Salinas, CEO, Jaime Aymerich, presidente, y Carolina Aymerich, adquisiciones, junto a Alex Lagomarsino de Mediabiz (Argentina)

Eric Jurgensen, CEO de América TV (Perú), con A+E Networks: Miguel Brailovsky, SVP & general manager para History y H2, Isabel Quintero, director content acquisitions, Hulda Acevedo, adquisiciones, y José Badini, director de programación

Marcelo Liberini, VP digital, Caracol TV Colombia; Pablo Zuccarino, VP & GM, Cartoon Network & Tooncast Latin America; Pablo Aristizabal, CEO, Aula365 Studios, y Ricardo Raimondi, gerente propuesta de valor, Telefonica Argentina

FNG Latin America: José Alberto Castro, fundador de Entrelíneas Producciones (México); Florencia Guevara, VP original productions; Richard Rohrbach, SVP de adquisiciones; Zico Goes, VP content and development para Brasil; Jorge Stamadianos, SVP de desarrollo, y Mariana Pérez, SVP de desarrollo y producción

Nick Lafferty, proyectos con América Latina de Creative Artists Agency (CAA)

Latina, Perú: Susana Umbert, gerente de entretenimiento, y Luciana Olivares, gerente de estrategia y contenido

Cecilia Gómez de la Torre, gerente general de Tondero (Perú)

Willard Gustavo Tressel, general manager de OnDirecTV; Enrique Rubini, de Fox, Claudia de Macedo, ahora independiente, y Alberto Pecegueiro, director general, de Globosat; Joao Mesquita, CEO, y Renata Aguiar, acquisition manager, ambos de TeleCine, y Dave Smith, director de adquisiciones de Iflix PRENSARIO INTERNATIONAL 113


//// Special Interviews

CBS All Access expands globally CBS Corporation will launch CBS All Access internationally through a partnership of its CBS Interactive and CBS Studios International divisions. The SVOD and live streaming service will be available initially in Canada during 1H 2018, with other markets to follow. Leslie Moonves, Chairman and CEO, CBS Corporation, explains: Leslie Moonves, Chairman and ‘CBS All Access is growing faster CEO, CBS Corporation than we anticipated domestically, and now represents a whole new opportunity internationally as well. By going direct-to-consumer around the world, we will facilitate new connections between the global audience and our industry-leading premium content. I look forward to introducing CBS All Access to Canada in early 2018, followed by a number of other markets in multiple continents around the world’. Launched in the U.S. in October 2014, it has grown its subscribers rapidly since that time offering for USD 5.99 or USD 9.99 (commercial-free) per month 9,000 episodes on demand, including current shows, past seasons of select series and classic TV hits, in addition to its growing slate of original programming, such us Big Brother Over the Top, Start Trek: Discovery, and The Good Fight. The platform is currently available at CBS.com, on mobile app, and on Roku, Apple TV, Chromecast, Android, Xbox 360, Xbox One, PlayStation 4 and Fire TV. On March 15, 2016, the company stated that by 2020 it would have eight million subscribers combined for CBS All Access and Showtime’s direct-to-consumer products. CBS announced that it is ahead of that pace and will exceed more than four million subscribers combined by the end of 2017. This news was disclosured before Disney’s announcement of the global SVOD release for 2018 for ESPN and 2019 for Disney (more information in the article published at the beginning of this MIPCOM edition).

Brother Over the Top, Start Trek: Discovery and The Good Fight were exclusively produced and broadcast on CBC All Access 114 PRENSARIO INTERNATIONAL

Paramount: big movie franchises, cinematic TV Owned by Viacom, Paramount Pictures continues to be amongst the top distributors of content globally with a wide array of worldclass, premium entertainment, including movies and TV series. Dan Cohen, President Worldwide TV Licensing: ‘Our motion pictures available for licensing range from beloved classics to our upcoming releases DownDan Cohen, President Worldwide sizing (Matt Damon), mother! TV Licensing, Paramount Pictures (Jennifer Lawrence) and the highly anticipated new installment in the Mission: Impossible franchise’. Paramount Television’s slate includes The Alienist debuting on TNT US this season; Jack Ryan (Amazon) and Maniac debuting on Netflix this season. ‘We license content virtually everywhere. The international market is extremely important to our business and it continues to expand’, he remarks. ‘China has been a big growth in the past five years and we have also seen growth in Latin America. We have partners like Telecine in Brazil. Additionally, our parent company, Viacom, owns Telefe, which affords some unique opportunities for us’. ‘We also seek distribution agreements that will bring our renowned content to global audiences. One recent deal that was a first for us along with our colleagues at VIMN was the Nordic launch of Paramount+, a new SVOD concept that offers our new releases along with a wide array of classic films and more than 800 episodes of popular programs from MTV and Comedy Central’, Cohen adds. ‘TV landscape is increasingly competitive, as more and more great content is produced. We are producing terrific, cinematic TV, which is generating interest around the world: 13 Reasons Why (Netflix) created massive buzz and is currently in production on its second season; Berlin Station is also in production on Season 2, and the second season of Shooter is currently airing on USA Network. We are also looking to do more co-productions, whether based on a Paramount property or original IP’.

Very Bad Dad’s Transformers: The Last Knight, the last movie franchise

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Mega: more international Besides of being the leader channel in Chile, Mega seeks to grow in the international market through new alliances – it closed a codevelopment deal with Kanal D (Turkey) in April-, and high valued dramas. Among the new titles, the company is pushing Perdona Nuestros Pecados, a series about a powerful family of the Chilean aristocracy in a fictional town of the fifties, Villa Ruiseñor, Patricio Hernandez, CEO where intrigue, suspense and romance build a story of passion in times of hypocrisy, and where everything looks scrambled with the arrival of a priest in search of revenge. At Verdades Ocultas a humble woman who happens to be reunited with her daughter whom she sold to an important family twenty years before, and now she must decide whether to protect her or her daughter with whom she stayed, while Tranquilo Papá is a comedy series where a successful business man that, after discovering that his family is a troupe of selfish and dependent slaves, decides to give them a lesson and to stop supporting them economically, which will cause a real earthquake in his house. From the international slate, Mega recommends the Turkish series Icerde, about two brothers separated at birth: while one of them grows up to become a policeman who actually works for the local mafia boss, the other gets into the criminal world but secretly working for the police, the Brazilian Totalmente Diva, about a poor young woman who runs away from her house and settles to sell flowers in the street. Lastly are Morandé con Compañía, humorous sketches; Mucho Gusto, magazine, and Misión Encubierta, Perdona Nuestros Pecados, drama series journalistic research program.

ABS-CBN: transformational characters

ABS-CBN Corporation (Philippines) arrives to Cannes with one of the biggest series to launch this year: La Luna Sangre, the third installment of the trilogy, following the successful International Emmy-nominated She Wolf: The Last Sentinel (Lobo) and its sequel Immortal. Preparing for the ultimate battle leads her Macie Imperial, Head Inteto cross paths with Tristan, a man who is out grated Program Acquisitions and Int’l Distribution to avenge his father who was killed by a vampire. But as love blossoms between them, they discover that what binds them also threatens to tear their worlds apart. Set in a small town where a political family rules, Wildflower is the story of a girl that takes on a new identity to seek vengeance for the tragedies that befell her family.  ‘Our content are primarily created to cater to the Filipino market but we see that global audiences are beginning to gain appreciation for our stories. Our stories showcase transformational characters that viewers are able to identify with’, describes Macie Imperial, Head Integrated Program Acquisitions and Int’l Distribution. ‘ABS-CBN is becoming more aggressive in attending TV and film markets, in our efforts to create more awareness for our products, and to learn about industry trends. We study the suitability of our content for markets we’d like to penetrate, including China, MENA. We’d also like to expand Indo-China and CEE, whether through co-production or format selling opportunities’, adds the executive who sees growth opportunities in new media and film, La Luna Sangre, the third installment of the and with the rise of digital. trilogy composed by She Wolf and Inmortal

Universal Cinergia expands its facilities

Universal Cinergia (USA) keeps expanding itself adding new facilites but also regions and clients to its portfolio. ‘We have seen a huge dubbing demand between 2016 and 2017, especially in the African region (Angola, Mozambique, Nigeria and Kenya)where there is more and more content that needs to be dubbed in French, Portuguese and English thanks to the expansion of the Latin American shows’, describes Liliam Hernandez, CEO. According to the executive, the presence of platforms like Netflix, Hulu and Amazon are opening the game and expanding the business. ‘We are dubbing and subtitling content for those platforms for big distributors in Spanish, English, Portuguese, French, Turksih, German, Italian, Castilian, Mandarin, Polish, etc’. ‘For us every company is important, no matter the size. Among our 118 PRENSARIO INTERNATIONAL

clients are Lionsgate, Fox, NBCUniversal, Kanal D, InterMedya, Eccho Rigths, Televisa, TV Azteca, SBS, CoteOuest, CCTV, Polar, Albavision and VIP2000’. In order to keep expanding the reach of the company, Cinergia is planning to launch in late 2017 and early 2018 its studios and Gema Lopez, COO, and Liliam Hernández, CEO more staff. ‘Our main objective is to expand ourselves but without losing the fast response and quality to those that trust in us, and be able to continue rendering our clients with the volume of projects that they require’, completes the executive.

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Eccho Rights: Cennet and Trotsky Eccho Rights (Sweden) brings to Cannes for first time Cennet, Sürec Film’s newest Turkish drama series and format adaptation based on Tears of Heaven from CJ E&M (South Korea), one of a number of scripts that Eccho represent from Korea’s largest production house. The Turkish version (Cennet’in Gözyaşları) Fredrik af Malmborg, Managing Director is airing this season on ATV, starring Alma Ada and Berk Atan in the leading roles. The story centers on an ambitious young woman from a tough background. When the woman she longs to work for turns out to be the mother that abandoned her as a baby, her motivation switches, having always sought the maternal love she has missed since birth. Yet her appearance rings alarm bells for her mother who suspects foul play, and tries everything to get rid of Cennet from her life once more. ‘This is a really exciting project for us,’ says Handan Özkubat, Head of Eccho Rights’ Istanbul Office. ‘It is a great story that we know well from the Korean script, and Sürec Film has a proud history of high quality productions that are have been received well by both Turkish and international audiences’. Other big titles for this season are Trotsky, a historical epic following the life and career of Leon Trotsky, created this year to mark the 100th anniversary of the Russian Revolution, with World Premiere at Mipcom, 17th October Grand Auditorium 6.30pm; Phi, a groundbreaking digital original from Ay Yapim, that took Turkish viewers by storm in 2017, scoring over 70 million views on the brand new Puhu TV platform within just three months and to air on Korean television, on GTV this November; New Bride, comedy drama where East meets West, and El Accidente, series that combines a thrilling plot with the story of the complex relationships Trotsky in the heart of a family.

Booth #R8.A 5

All3media: a Liar and an Escape

All3media International (UK) with a bunch of news: first, US streamer Hulu has picked up the local rights to UK comedy GameFace (6x30’) from the distribution arm of All3Media and produced by All3’s Objective Media. Created, written by and starring comedian Roisin Conaty, the show follows a woman who spiritedly crashes her way Jane Turton, CEO through life, assisted by her life coach, best friends and an ever-patient driving instructor. In September, the company also announced the first local commission for new format Hit It, Xtreme Media and the winning format at the inaugural ATF Formats Pitch. A local adaptation of Hit It has been commissioned for Mediacorp Suria, a leading FTA Malay channel in Singapore, known locally as Hentam Sajalah. And lastly, US OTT channels operator TV4 Entertainment and the UK distribution group have launched an OTT channel focused on gardening and interior design. Earlier this year Discovery- and Liberty Global-owned All3media and TV4 signed a strategic partnership to launch OTT channels across multiple genres, with Inside Outside the first to be announced when it was revealed at MIPTV in April. In content, the news include the launch of the factual shows Escape (4x60’), where a group of highly skilled engineers will be put into a catastrophic scene and left to find a way out; My Life as a Chimp (60’), documentary about a group of extraordinary orphan chimps, Spa Wars (60’) and F Word (60’). Lastly, from the slate of dramas are Liar, a six-episode psychological thriller that follows Laura Nielson and Andrew Earlham as their seemingly innocent date unravels into a complex web of deceit that neither could foresee; Rellik (6x60’), a serial killer thriller told in reverse, and The Miniaturist (6x60’), a haunting, sumptuous Liar, new drama period thriller set in 17th century Amsterdam.

La Competencia stands on the international market La Competencia, one of the main entertainment and fiction producers from Spain, keeps growing in the international market, now along with its own distribution arm. Javier Pérez de Silva, CEO: ‘We have reached a very important stage of Javier Pérez de Silva, CEO development that leads us to stand on the international market. We seek to promote businesses with greater protagonism and to be more and more referent in innovative ideas, in projects with twists’. ‘At the moment we have two TV sitcoms on Free TV in Spain - She is your father (Telecinco) and Gym Tony (Cuatro) - and successful formats in Telecinco, TVE, RAI and other European territories such as Levántate, Pequeños Gigantes and now Fantastic Duo (Korean format). We have also factual shows in Cuatro and TVE and two 120 PRENSARIO INTERNATIONAL

production hubs, one for Viacom (Ridicolousness) and one for Turner, with a game show based on the Ben10 cartoon. From Madrid, each one reaches 8-9 territories’. Continues the executive: ‘We also have studios in Canarias, with a 35% of tax rebate that attracts to blockbuster from Hollywood, and we promote musical festivals such as MadCool’. According to the executive, the objective from now on, is to focus on paper formats, now in a big moment because of the need of innovative ideas. ‘Following this concept, we are working on projects for 2018 like El sucesor, a mix of El Apprentice with cooking show, and Busco la mejor persona del país. Technology gives us the chance to Gym Tony, sitcom have new twists for our shows’.

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Booth #R7J.11

The Incident of Atresmedia

CTV: prank shows & long running series

Atresmedia Television (Spain) presents at MIPCOM the new sci-fi miniseries The Incident (El Incidente, 5x70’), a mystery story where a big storm threatens humanity. Day-to-day life for the inhabitants of a small village in the mountains will be turned upside Diana Borbón Cuchí, Sales Manager down when an unexpectedly severe storm hits and changes their lives forever. From that moment on, some of the inhabitants begin to behave in a strange way: Tania´s husband Nacho, owner of the hostel, awakens from a coma after two years; Mary, the teacher, becomes pregnant without having ever had intercourse and Ramon, an old man with Alzheimer, starts showing signs of recovery. But only a small group of people will realize that this is not the first time that these events occur, that it is not a coincidence, and they are willing to do anything to unravel the mystery behind the incident. Diana Borbón Cuchí, sales manager, recommends also several titles with dramatic value and proven success like Money Heist (La Casa de Papel), Locked Up (Vis a Vis), where a fragile young girl, is betrayed by her lover and is convicted for fraud; Plastic Sea (Mar de Plastico), thriller set in a village located in Southern-Spain whose economic activity relies on massive greenhouse fields, and which houses a widely diverse group of inhabitants, and the renewed comedy Down Below (Alli Abajo), centered on a young man who lives in the North of the country with his traditional and controlling mother, an introverted woman who is convinced that her son can’t survive on his own. But everything changes for him when he is forced to take a holiday trip to the South with his mom. After an accident, she goes into a coma and has to stay at a hospital far away from home.

Founded in 1986, CTV Media is one of the largest audiovisual infrastructures in Spain, producing over 600 hours of primetime per year within its five TV sets distributed in some 14,000 square meters. ‘Along these over 30 years, we have been contributing to achieve Ghaleb Jaber Martínez, head of Fiction better rates in its audience, and and content development our seal is a solid guarantee of quality productions according to nowadays audiovisual requirements. In this new stage , CTV goal is to go one step ahead by reaching international markets through solid alliances with colleagues who may share our same vision’, describes Ghaleb Jaber Martínez, head of Fiction and content development. ‘In the recent past we held the record of the longest-running television show with Super Tuesday, and back in 2008 we were pioneers in Spain in producing a program based in hidden cameras. That success aimed us to produce a new pack of some 300 gags, this time recorded in 4K, and soon w ill be in the portfolio of Novovision’. In fiction, Dalia the dressmaker, its latest fiction series, is being successfully distributed worlwide by Onza, and the company is focussed on creating new titlles and working on our next fiction project, including a co-production with Mexico and Andalusia. ‘We attend Mipcom with three goals: first, to formalize our alliance Camera Gags, prank show distributed by Novovision with Novovision; secondly, to hold meetings with several companies to find co-producers for our projects; and thirdly, to see and study trends and market projects’, completes Jaber Martínez.

The Incident, new sci-fi miniseries

Cámaras ocultas Title: “Cámara Gags” (humor no verbal) Type: Cámara oculta mes: 26 Number of program Length: 25’ me: 10 d for every program Number of pieces estimate estimated: 260 Total number of pieces

Dalia, drama serie

The Kitchen & the importance of language customization

With 16 years of experience in the dubbing industry, The Kitchen has built a recognized brad thanks to 17 dubbing suites and 9 fullyequipped mix suites. The company dubs to and from US English, Latin/Neutral Spanish, Brazilian Portuguese and Parisian French for all formats and genres of programming. In 2016 joined forces with Cisneros Media Distribution and opened an additional 6 dubbing suites in Caracas, while in 2017 it formed The Kitchen-EMEA, bringing Yoram Chertok on board as MD. ‘Our ‘European offices are in London, and thus far we’ve opened new “Kitchen’s” successfully in Russia , Moldova , Morocco , Turkey , South Africa , Germany , Italy and Deeny Kaplan Spain. And there are more “Kitchen’s” to be introduced shortly’, describes, President and CEO. According to Kaplan, ‘this is an exciting time to be in the language 122 PRENSARIO INTERNATIONAL

localization businesses’. ‘The importance of language customization has grown, and continues to grow as countries such as Russia, Poland and most other Eastern European countries move from “lecturing” with one voice telling the story, to full on lip sync dubbing, with the quality we look for in all our Deeny Kaplan, President and CEO US programming’. ‘Additionally, it is important to recognize that programming is now coming from all countries: India, Korea, Denmark, Vietnam and Turkey, for example. Competition has grown. Thus the need for more efficient and better quality language localization is more important than ever before’.

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Mediaset España: Wild Spirit

The international division of Mediaset España, led by Silvia Cotino, head of sales, highlights at MIPCOM three new series available both as finished shows and formats. Directed by Cesar Rodriguez and produced with La Competencia She’s Your Father is the story of a man who has to deal with Silvia Cotino, head of sales being a rock star and parenting. Paired with his joker and playboy brother, they had a onehit-career but, now, they’ve ended up in the scrap heap of the history. Even worse: there is no more tours, no more gigs, no more fans and and there is no more family, because, after burning his house accidentally, he has divorced and the judge have banned him to seeing his children. Truth is a series developed with Plano a Plano and César Benítez and Aitor Gabilondo as showrunners, centered on a young woman that turns up in a coastal town claiming to be a little girl who went missing nine years earlier. But is she telling the Truth? After her mysterious disappearance as a little girl, she reappears as a beautiful, enigmatic, 17-year-old adolescent. An ambitious cop is in charge of investigating the case of the girl’s return to her family, although her story is so full of holes that its veracity is questionable. Lastly is the 7 episode factual Wild Spirit: a photographer, his wife and children, undertake a journey all around the world searching for endangered animal species and discovering at the same time fascinating territories and meeting the inhabitants of each region. The family will visit seven natural and astonishing environments: Australia, Pyrenees, Namibia, India, Greenland, She’s your father, comedy series Mexico and Canada.

Nippon TV: adapting to consumers’ changes

Nippon TV Group combines its strengths to understand the demands of each country in order to accelerate the development of content and their global distribution. Yoshio Nakayama, Board Director: ‘Continuously reinforcing our slogan “Viewers Come First,” we create programs and drive projects that adapt to the extreme changes of the consumers’ lifestyle. The Yoshio Nakayama, Board Director expertise we acquire can be applied to our strategies for the global market, and we look to advance businesses that will be deeply rooted to each of the countries we enter’. The executive highlights the success of the Turkish version of Mother (Global Agency) that it put its scripted format business on a roll. In addition to Turkey, the company is focusing its efforts on selling original dramas to Latin America, China and other countries. ‘We are recognized for our drama series that feature women, which we hope more people throughout the world will get to enjoy’. As for the non-scripted genre, it brings three new titles: Witness the Fitness, studio game show; Impress Us, social experiment, and the docu reality YES MAN discovers the world, apart from the series My Son, Overprotected Kahoko and My Lover’s Secret, as finished programs. Impress Us, social experiment ‘We will also continue co-developing formats, much like what we’ve done with Germany’s Red Arrow, and increase the volume of highly entertaining content that we can share with the world. Domestically, we will work tirelessly to continue providing quality time to our viewers and remain as their first choice for entertainment’, completes

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RMViSTAR: inspirational content and dramas R M Vi S TA R (USA), a boutique distribution company created by Rose Marie Vega, has established itself as a Rose Marie Vega, President well-recognized brand in the Hispanic markets, expanding now its services to other territories around the world through a network of likeminded agents, offering more than 1,500 hours of a complete array of programming. The company sources its contents from Latin America to North America, Europe and Asia and partners with well recognized production companies to offer content that 124 PRENSARIO INTERNATIONAL

appeals to various demographics. ‘We are proud to be part of The Fashion Hero (8x60’) sales team representing the USH, Mexico, Spain, Italy, Greece and part of C&EE. It’s a brand-new entertainment reality television show that challenges and redefines today’s beauty standard’, describes Vega and ensure that it’s ‘inspirational and has a strong positive message’. The company also continues to push on family entertainment as it pursues to reinforce the family values consolidating a strong Hallmark franchise with more than 40 titles. ‘We have recently closed an important FTV deal in Mexico with Imagen Televisión, offering a first window of 20

family movies, including our best rated franchise: Aurora Teagarden The Fashion Hero, lifestyle and beauty series Mysteries, in Spanish. We also keep pushing La Chica que Limpia series (6x60’), from Argentina, available as format as well’. In terms of expansion, the company has added new territories like Spain, Portugal, Greece, MENA, Africa and Asia, working with different agents around the world, as well as exploring co-production deals for the format of La Chica que Limpia and The Fashion Hero amongst others.

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IndiaCast: social dramas

Viacom18/IndiaCast is recognized in the global arena as a key Indian content provider, with over 30,000 hours of content from the heart of India and presence across the globe with shows available and adapted in over 135 countries, in more than 30 international languages. With presence in Central & Eastern Europe, CIS, South East Asia, South Asia, MENA and Africa, the company is focusing to achieve new regions to keep evolving. Among the new dramas for this season, the company recommends Balika Vadhu. Based on the social issue of child marriage, the series narrates the story of a child bride and daughter of a simple farmer. As is the custom of the village, her father gets her married to a man who comes from a very well to do family. Naagin (62x60’) follows an “Iccha-dhaari Naagin” (Shape Shifter) who can shape shift from snake form into human. Her parents were killed by a group of people, 25 years ago, and now she has come into their lives for revenge. She enters their house as a maid with the intention of killing them. As fate has it Ritik the son of one of the couple who killed her parents, falls in love with her and marries her. While Madhubala is the story of a mesmerizingly beautiful girl who has no aspirations of entering India’s glamorous film industry but fate has something else in store for her. A girl Balika Vadhu, social drama based with simple dreams is compelled to on the issue of child marriage act and to everyone’s surprise a new star is born. However, fate is not done with her yet, and forces her to marry a leading superstar, where love has no role to play. Watch how their hate turns into love and transforms their lives. Madhubala, family drama

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Scenic Rights: IPs and original content

Scenic Rights (Spain) assists MIPCOM to present several TV Series projects as Fever, a thriller based on real events about the birth of rave culture in Miami in the 1990s. Other projects under development is the series The Crossover, a European thriller written by three great screenwriters of the industry of different countries (Spain, Italy and Germany). Another of the strong axis is the series project based on the stories of Jorge Luis Borges, and the rights of the life of the popular singer Camilo Sesto. ‘We represent the most successful literary and dramatic Hispanic writers in the last century, and we also have established agreements to adapt audiovisual works by renowned literary agencies, which makes us the Agency with the largest exclusive catalog of Hispanic authors to adapt to television, film and other formats’, completes Sydney Borgas, MD. 126 PRENSARIO INTERNATIONAL

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GMA: the expansion of the Filipino drama GMA Worldwide, distribution arm of content for GMA Network, the Philippines’ largest broadcaster, has expanded its coverage within the last 10 years to become the premiere provider of Filipino content, adding new regions across Southeast Asia, Sub-Saharan Africa, parts of Europe, North America and Latin America. One of the keys according to Roxanne Roxanne Barcelona, VP Barcelona, VP, are strategic partnerships like the one that maintains Latin Media, who sold the format rights of seven GMA dramas by several production houses in 2016, including the remake rights of The Other Mrs. Real (40x45’), Until We Meet Again (42x45’) and My Superstar (36x45’) to Mexico. Further, the canned version of the drama Until We Meet Again was sold to a broadcaster in Peru My Superstar, sold to Mexico and Chile. ‘We continue to grow our market in Southeast Asia with new partners in Cambodia, Myanmar and Vietnam. Following the ASEAN integration, we strive to strengthen our presence in the region as the primary source of Filipino content’, adds the executive. According to Barcelona, there is a growing demand for our English dubbed dramas in the Sub-Saharan region. ‘We have ongoing efforts to develop this market and meet new partners in more African countries through participation in international markets’. At MIPCOM, the executive recommends I Heart Davao (21x45’), broadcasted with an average of 45.8%; My Korean Jagiya (45x45’) and Bow of Justice 2 (45x45’). ‘Both dramas are rating well with Bow of Justice 2 having an average share of 53.1% and while My Korean Jagiya has an average share of 34.8%’, completes Barcelona.

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FremantleMedia: ‘Nostalgia as global trend’

FremantleMedia launches at MIPCOM a new season of the hit format from the company, American Idol. ‘It will feel familiar to the original and of course, now with Katy Perry as one of our judges’, describes Jennifer Mullin, CEO FM North America, and ensures that, when there’s a show that works, ‘you must be mindful to not take that for granted’. ‘You must remain consistent and keep the quality as high as possible. Freshening, modernizing and small evolutions are sometimes necessary - but not at the expense of changing the core of the format’. Regarding new trends, the executive highlights that, during 2016, seemed to be tapping into nostalgia. ‘We are seeing this in both scripted and non-scripted. Given that we have a rich and deep catalogue, we are excited to bring back titles that will excite audiences’. And she completes: ‘We are always open to new and innovative business models’.

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VIVOPlay: noticias y entretenimiento

VIVOPlay, único OTT enfocado al contenido hispanoamericano, sigue creciendo: tiene 400.000 suscriptores, de los cuales 200.000 son consumidores activos que pasan un promedio de 5-6 horas por mes accediendo a contenido de la plataforma, que este mes está recibiendo un upgrade para ser más robusta. Carlos Hulett, CEO Ofrece unos 30 canales lineales de Latinoamérica y España, y contenidos VOD, que se incrementan mes a mes. Para ello, su CEO, Carlos Hulett designó a Fabiola Paravisini como nueva directora de contenidos, y está en en MIPCOM cerrando acuerdos con proveedores de contenidos, pero también buscando nuevas estrategias para ampliar la llegada de VIVOPlay.‘Estamos en conversaciones con varios carriers que nos permitirán llevar nuestro servicio a más consumidores. Ellos son principalmente operadores de telefonía movil que quieren ampliar su oferta de contenidos’, explica Hulett. En relación a la programación, las noticias y actualidad en vivo sigue siendo lo más demandado. ‘En ese género somos el único OTT. Incluso el único que ha quedado en pie en Venezuela. Estamos dándole cada vez más peso a ese segmento, produciendo más y curando noticias internacionales provistas por nuestro agregadores’, añade. Ahora Mismo y El Show de Bocaranda son de los más exitosos, junto con canales locales como TV Venezuela, e internacionales como NTN24 (RCN). ‘Queremos seguir sumando canales, sobre todo en el área de entretenimiento. Además del canal lineal nos interesan derechos de catch up y El Show de Bocaranda, uno de los proDVR que implementaremos con la gramas de noticia en vivo más exitosos nueva plataforma que estamos lanzande VIVOPlay do este mes’, completa Hulett.

Story Lab, focus on co-productions

Story Lab (Argentina) has positioned itself as a boutique creator and production house, with an ever-growing number of drama developments. The company already coproduced two big titles: La Casa del Mar, with Cisne Films for DirecTV Latin America; and Estocolmo, with Ignacio Viale and Diego Palacio Kapow for Netflix, which have had great results in each platforms. It has another five projects in development: Crack (10 episodes, two seasons), a dramedy about a football player that loose everything overnight; The Imperfect Crime (8x’60), a mysterious nazi treasure hidden in Patagonia; The Rupture; Juguetes Perdidos; and El ultimo primer dia, which we are being offered to different partners in Mexico and Spain. ‘We have consolidated a Writer’s Room, gathering very well known authors, new talents and journalists, what has been a fantastic goal as this combination has given a global approach to each project’, explain Ignacio Viale and Diego The Imperfect Crime Palacio, partners. The company is mainly focused on co-productions partnerships. ‘We have a solid agreement with Eccho Rights (Sweden) as a distributor for La Casa del Mar, and we are also giving them The Imperfect Crime, which has an strategic partner in Spain’, they stand. Story Lab is also producing the short fantastic drama Bar Code with Juan Gil Navarro (La Casa del Mar) and Juana Viale (Estocolmo) and is launching a brand new business unit for digital developements. In Cannes, it will be also finishing negotiations for an entertainment format for an Argentine free-to-air network.

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Workpoint: pay attention to Thai formats

Workpoint is one of the leading media groups in Thailand, combining a powerful content generation and production Dhanasak Hoonarak, Chief Business company (WorkDevelopment Executive point Entertainment Group) and the leading digital channel, Workpoint TV. The company arrives to Cannes after the deal on 3 titles of TV series closed with Bayon TV (Cambodia): Cursed Love, period drama series; House of Blast - The Chinatown, comedy series; and House of Blast 128 PRENSARIO INTERNATIONAL

The Girl Next Door, which was the Winner of Best Comedy Programme in 2016. ‘Mic On Debt Off has been produced and broadcast on Indosiar channel in Indonesia, and we also closed 4 format deals in Vietnam territory in 2017. And now we’ve closed deals with OTT platforms in Hong Kong, Malaysia, Brunei and Singapore’, describes Dhanasak Hoonarak, Chief Business Development Executive. ‘Indonesia is the one that we’ve always wanted to go into. In 2017, we’ve closed 3 deals in Indonesia so far, one is the hugest deal of this year (yet), and now we’re focusing on tapping China and Russia, which are still new markets for Workpoint Group, within the year

2018. Apart from these markets, OTT platforms are new market focus for us Diva Makeover, new talent show too. We were used to licensing to TV broadcasters, but as trends have shifted to digital platform, we must be consistent with the trends and take the opportunities’, he adds. Among the new shows the executive recommends Diva Makeover (13x60’), talent show; Little Lightning (80x60’), children program; Mic On Start Up (30x90’), singing competition and the game show The Spy Game (26x60’).


Ampere Analysis: Dynamics in the new media ecosystem

increase in daily viewing time. Adding SVOD behaviours associated with this viewing, (often as well as pay TV) sees a further step-up particularly catch-up on TV channels, which (from 3.55 hs up to 4.10hs). has a major peak at lunchtime. At the US market, DirecTV and Comcast This combination of influence driven by homes view more than Netflix and Amazon viewing platform and device opportunity has led homes and Hulu sits right between. Here to the emergence of device- specific primetimes. breadth of content offer is likely the main But still, the main TV set remains the key device driver, although it’s important to note that for all viewing and particularly evening viewing, the DirecTV, Comcast and Hulu homes representing a 35% of the devices and followed may well also have an SVOD service; the by streaming boxes (28%), tablets (15%) and majority of US pay TV homes now have an smartphones (12%). Smartphone ascends rapidly SVOD service as well. throughout the morning, having its own personal Strategies that embrace change—while ‘primetime’ at lunchtime (12% between 9am -12pm). Then throughout Regularly binge view, by country the afternoon, main TV sets and OTT streamers ascend towards the standard TV primetime evening slot, with the notable point that all non-TV devices extend their viewing a little later into the night. The other key developing trend in viewing environment according to Ampere is the service mix in the home. Back just a few years ago, the in-home TV provision was either Source: Ampere Analysis free TV or FTV with pay TV. Today, with SVOD, consumers are layering ensuring that brand is protected— thus look multiple services, often having free and pay to be the best option for linear and scheduled TV and multiple additional SVOD add-ons. channels and broadcast groups. Looking at Further, there is a growing minority of homes major national broadcast networks in the UK that use SVOD and USA, there is a very clear impact of an Device ownership, by age group combinations as associated catch-up OTT service. For example, their main form in UK, the impact on Net Promoter Score of TV. (NPS) - indication of consumer satisfaction The impact of with a service and brand- shows that for BBC service layering it represents on average of 70% a among all is generally viewers, but when adding associated apps, positive for TV it goes up to 85%. With Channel 5 the viewing and evolution is more noticeable going from content overall. 50% up to 80%. This means that where Adding pay TV viewers also make use of a broadcaster’s to a home results catch-up OTT service, their opinion of the Source: Ampere Analysis in a significant brand improves in every single case.

It’s not new that changes on viewing behaviour and service choice impact every aspect of the TV industry, from the creation of an idea, to its production and even the new distribution models. Understanding new audiences is more crucial than ever before and predicting where viewing will be in a few years time are absolutely essential. According to a report realized by Ampere Analysis, there is a strong demographic relationship to viewing behaviour, with the youngest age segments watching the least traditional TV and the oldest watching the most. The higher the uptake of non-linear viewing devices in a given country, the lower the viewing time spent on scheduled TV. Audiences between 18-24 years old consume about 1.28 hours of traditional TV, while people between 25 - 34 years old spend almost 2 hours in front of traditional devices and the ones that are over 55 years old, almost 3 hours. But on average, scheduled TV channels’ still represent 51% of the daily viewing, while SVOD is 13%. On demand from Pay TV represents 11%, and free online video 8%. In young audiences between 18 and 24 year olds, the gap between linear TV and SVOD services is less (30% vs. 24%). Linear TV viewing has a very precise evening peak which begins between 5pm and 8pm and peaks between 8pm and midnight, while SVOD viewing has a much wider rump of viewing, beginning to accelerate rapidly from 2pm onwards. Similar patterns can be seen in the device


Jeff Bader, President, Program Planning, Strategy and Research, NBC Entertainment: ‘For most of broadcast network, the bulk of revenue still does come from primetime revenue. The rules have changed dramatically for how you determine what that primetime schedule will consist of’, but there are certain axioms that still hold true: programme flow matters’.

Steve Shannon, GM Content and Services at Roku: ‘Most of the change in behavior is driven by the fact that consumers now have full choice and control over what they watch. In what some call the golden age of TV there is more TV content available to consumers which also allows for greater variety’.

Broadcasters are increasingly embracing OTT as a means to take their content offer beyond catch-up with the emergence of a trend for ‘augmented catch-up’ where strategies include offering content not broadcast on the main channels within the OTT service and of experimenting with windowing and box-set availability Another facet of the evolving viewing landscape and flexibility is the ability to focusin more routinely on specific types of content. The differences are stark. Sport fans are the most conventional, favouring scheduled TV channels (20%) and DVR (10%). Drama also trend towards traditional viewing outlets, with a strong skew for DVR usage (20%), but interestingly are average for SVOD viewing. Lastly, reality and lifestyle content fans skew heavily for watching free online content (18%), catch-up (30%) and pay TV on-demand (35%)

Neil Mortensen, Director of Audiences, ITV (UK): ‘People still need a channel brand or a trusted editor; because TV brands stand for something and they simplify things. We look at all the platforms we are on and work at finding more sensible ways for the viewers to get to their favorite shows’.

Blaž Bezek, Programme Development, Head of Voyo/PRO Plus (CME): ‘Time-shift viewing has grown substantially in the past years, 25% of households already use it on pay TV in Slovenia. However flagship reality and entertainment, fiction and sports are still events that gather families together and are viewed predominantly in linear mode’.

and favour mobile devices for viewing (12%). age skew), but most surprising is that they On average, just over half of all homes in skew to wealthier households. Here again, the ten markets, binge view regularly. The we have the interplay of device, access and US has the highest rate of binge viewing viewing with the slightly wealthier homes at 69%, followed by France (62%), UK having greater access to technology and (57%), Spain (55%) and Italy (54%).The additional platforms like SVOD. characteristics Daily viewing behavior of viewers offer some interesting insights. Not surprisingly they skew younger, being 22% more likely to be under 35. They skew towards having young kids (possible a Source: Ampere Analysis sub-factor of the

WATCH YOUR LANGUAGE AROUND THE WORLD USA • South America • France • Italy • Germany • Spain • Morocco • Turkey • South Africa • Moldova • Russia







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StarTV: shaping Indian Tondero: promoting media landscape Peru to the world Star India, a fully owned subsidiary of 21st Century Fox, has defined the Indian media landscape for over two decades and today is one of the country’s leading media conglomerates, reaching approximately 650 million viewers a month across India and more than 100 other countries. Star generates 20,000 hours of content every year and broadcasts 40+ channels in 8 different languages, reaching 9 out of 10 C&S TV homes in India. In the international markets, Star India’s content has been dubbed and subtitled in more than 20 languages. At MIPCOM, the company bets on Saras & Kumud (444x30’), series sold in more than 40 countries across the globe and with good results in Chile, Argentina and Peru, about soul mates who are denied the joy of becoming one by destiny and traditions. One of the biggest international hits from Star India, the show has enthralled audiences in more than 40 countries across the globe. Sold in the UK and with a strong narrative, The Wait for Love (120x30) features one of the most popular actors on Indian TV, Sanjeeda Sheikh. The series follows the story of an actress Kamini Mathur; an ordinary girl at heart, looking for true love and who falls in love with Madhav Singh, a prince! Surrounded Saras & Kumud, series sold in over 40 countries by powerful enemies, finding love is not easy for these star crossed lovers. While This is Love (452x30’) is one of the most successful and long running shows on Indian TV. Lastly are Strange Love (398x30’), sold in over 50 countries across the globe and with a season 3 currently on air, and The Love Gamblers (448x30’), is the story of three Strange Love, sold in over 50 territories brothers who share an unbreakable bond despite their dysfunctional family.

Tondero Distribucion (Peru) arrives to MIPCOM under the umbrella of PromPerú, and for first time, with a Peruvian pavilion. ‘The goal is for international producers and distributors to see in the country an Cecilia Gómez de la Torre, good option to invest and produce premium general manager content, and boost the image as an ideal window for content co-production’, explains Cecilia Gómez de la Torre, general manager. ‘Peru has an strategic location to co-produce with very good quality and diverse scenarios (coast, mountains, jungle), very little time away, with new infrastructures and great capacity to generate exportable contents’, she La Hora Final, drama adds. Among Tondero top productions stands La Hora Final, drama that tells the story of two GEIN agents who pretend to be a couple in order to track the Sendero Luminoso terrorist group, and the comedy Margarita, ese dulce caos, with a second film confirmed. La Cosa, La Herencia y El Candidato, satirical comedy about politics, written and directed by Álvaro Velarde, and Una Navidad en Verano is a movie full of tangles and joy. ‘Drama, music and reflection are also present in the catalog with films such as Av. Larco, La Vigilia, Planta Madre, Wi:k. In documentaries we have Pacificum, about the ancient relationship of respect and devotion of the ancient Peruvian settler with its marine environment, and Hatun Phaqcha, about “super food”’, adds Gómez de la Torre. For 2018, the company will include new titles where stands El Gran León, Locos de Amor 2, Frontera Azul, Rosa Mística, Django 2, and Asu Mare 3, and co-production projects like Clandestino, Soltera Codiciada, Margarita and Locos de Amor, el Musical.


RCTV: telenovelas in UHD

RCTV International (USA) is betting on a production scheme adapted to the new realities of the international market, offering a telenovela with a twist: of 60 chapters divided in five seasons. ‘Shooted in UHD, Women Love, Men Lie, is written by José Vicente Quintana (Camaleona, Calle Luna Calle Sol) and has been recorded in beautiful natural settings. It stars Patricia Amenta and Héctor Peña, with the performance Carlos Lamas, VP y General of renowned actors Manager 134 PRENSARIO INTERNATIONAL

such as Flavia Gleske, Julie Restifo, Socrates Serrano and the special participation of Alexandra Braun’, describes Carlos Lamas, VP y General Manager. Under the impetus of youth and unbridled passions, two different worlds are discovered. Ana Isabel, confident, enters the world of Salvador. He seems sincere, she wants to believe in his love and that not all men lie, but fate will repeat the misfortune of the women of his family. Other new titles that the company is promoting in Cannes are Corazon Traicionado (120x60’), filmed in external locations and in four studios of RCTV Producciones, the

Women Love, Men Lie, series in UHD

series is written by Martin Hahn and starring Yelena Maciel and Cristóbal Lander along with Norkys Batista, Estefanía López, Juan Carlos Gaerdié, Aroldo Betancourt, among others. While Piel Salvaje (120x60’) is a love story of war and hate, where a secret gives a magical turn to the lives of those who vowed to remain in silence.

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Endemol Shine breaks The Wall

MISTCO: epic dramas

Endemol Shine Group arrives with a slate of new game shows headed by Family Food Fight, a new competitive cookery series from Endemol Shine Australia. Diverse, multi-generational families go headto-head in high pressure cooking challenges to win the experience of a life time and the coveted title of the ‘Greatest Food Family’. Marina Williams, Another hit for this season is The Wall, COO a combination of quiz, luck and strategy set against the background of a highly dramatic and interactive set piece, sold to France, Germany and Spain. Armchair Detectives  is a new genre busting format from Endemol Shine UK’s Tiger Aspect for BBC One which combines a murder mystery drama with a gameshow; and Tin Star (10x60’) tells the story of a former British detective now small town police chief who brings his family to the tiny and tranquil town of Little Big Bear for a better life. Gunpowder is a fast-paced 17th century thriller that delves into the history behind the plot evolution, the selection of the team to carry it out, the gathering of the resources, and the obstacles they came up against. And Bounty Hunters (60’ & 5x30)’ is a new action-comedy series from Cave Bear Productions and Tiger Aspect Productions for Sky 1 and NOW TV about a man that discovers his father is hospitalised following a mysterious accident. Lastly are Wake in Fright (2x120’), a new adaptation of Kenneth Cook’s classic Australian novel, produced by Lingo Pictures in association with Endemol Shine Australia, with the assistance of Screen Australia and Screen NSW for Network Ten Australia, and The Boy With The Topknot, based on the critically acclaimed memoirs of journalist Sathnam Sanghera and The Wall, new game show adapted by Mick Ford.

MISTCO, sales representative of Turkish pubcaster TRT, is going through a moment of full expansion: In 2017 it have closed major deals in regions like MENA. ‘First part of 2017 was very fruitful for us. After the large amount of sales from TRT ‘Library’ titles, we witnessed TRT’s important role in Turkish Media as being one Aysegul Tuzun, of biggest TV network in Turkey and that VP sales and marketing all of TRT titles have value internationally’, describes Aysegul Tuzun, VP sales and marketing. Among the main deals are the sale of You Name It in Latin America, and Resurrection: Ertugrul, driven drama which has entered new territories this year, closing deals for its Season 4 even before the shootings has begun. ‘Also with our high quality animations Pepee and Little Lamb we managed to enter into the very domestic Chinese market. All these deals show that Drama production in Turkey is still increasing every day and thus it is normal to have new genres emerging every year. In every market we attend, we see the continuous demand for each title from each genre’. At MIPCOM, the company is bringing new dramas from various genres: ‘As TRT is the biggest producer and investor of epic drama there are new titles and we also have a youth series named High School Patrol, which tells the story of young detectives trying to catch a criminal by disguising as high school students.’ Other titles include The Last Emperor and the series Jade, which became a finalist at Japan Prize International Contest. And for the entertainment formats it’s the new one Your Turn. ‘It’s a very entertaining song contest. What makes this format different and entertaining is that, it has 3 types of jurors: 3 celebrities, 20 orchestra members and 5 people among the audiences. And it is also unique in being the first format in our catalogue’, describes the executive. You Name It

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Wisdom of CBS

ZEE: inspiring stories

CBS Studios International arrives to MIPCOM with its new military drama Seal Team (13x60’) and Wisdom of the Crowd (13x60’), where a visionary tech innovator creates a cutting-edge crowdsourcing app to solve his daughter’s murder and revolutionize crime solving in the process. In Valor (13x60’) the boundaries between military discipline and human desire are tested. And Instinct (13x60’) stars Alan Cumming as a former CIA operative who is lured back to his old life when the NYPD needs his Wisdom of the Crowd, new drama help to stop a serial killer.

ZEE (India) offers a portfolio of 240,000+ hours of award-winning programs in every genre, both scripted and non scripted, for all ages. Among the main shows for this season stands Piya Albela (125x30’), a modern-day interpretation of the classic love story of Menaka and Vishwamitra, the factual show Sunita Uchil, Chief Business Officer Altar’d (6x60’) and the lifestyle show Conquered (7x30’) about uplifting and inspiring stories about people who have broken boundaries and conquered obstacles to achieve their goals. India’s Asli Champion… HAI DUM! (16x60’) is a crafted show that aims to find the Fittest Indian.


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The resurface of TVN With the appointment of Jaime de Aguirre as executive director, and Alicia Zaldivar Peralta as general manager, TVN has achieved stability after a period of ups and downs. ‘The channel is starting to put together an interesting group of experienced executives who are rearming the company within the Chilean market, Alexis Piwonka, deputy manager but at the same time generating exportable of business content for the international market,’ says Alexis Piwonka, Deputy Manager of Business. ‘The launch of series like La Colombiana, which averaged between 9 and 9.5 points locally, and El Camionero meant the reconstruction of the dramatic area with the power and quality that has always characterized us. Now we have our third project since the reconversion: Wena Profe, with a cast headed by experienced artists like Marcelo Alonso and Maria Elena Swett but also a good mix of young talents’, remarks Piwonka about the series that follows the story of a music teacher who enters to work at her daughter’s school with the objective of rebuilding the bond with her. The company is also producing a new thriller for the late prime, Dime quién fue, which is expected to be launched late this year, and highlights to the international market the new reality La Vega, produced with Fabula (No), where slack young people go to work in the central market. Along with its new titles, TVN is also working on new business models: by one hand, its dubbing the series to Spanish Neutro after the good results obtained with La Chucara, and by the other, is testing a new distribution strategy, selling ideas, scripts and stories. Lastly, the company is searching for co-production opportunities to ‘as a way to face markets where it is La Colombiana very expensive to produce’.

Comarex: hub of content

Comarex (Mexico), company led Marcel Vinay Jr., CEO, highlights in Cannes its international catalogue after the incorporation of Cisneros Media Distribution’s offer on a deal completed in late 2016. Through this agreement, the Mexican company expanded its catalogue that also include titles from Canal 13 (Chile) and Canal 11 Mexico for the region. Marcel Vinay Jr., CEO Among the main titles for the company are the game show format Save to Win (50x60’), where savvy shoppers can win big cash by showcasing their knowledge of everyday household brands, and Cisneros’ telenovela Separated By Love (111x60’), telenovela about a young lady in search of a better life that moves from the country to the city, without imagining the twits that waits for her. Also from CMD is Just Looking (60x60’), teleseries set on a building, 6 apartments, a penthouse, a concierge and many stories of love, while from Canal 13 it highlights Vertigo, a stellar transmedia show that has aired in Chile on prime time at 22:300hrs since 2013, adding now 12 seasons with excellent results among audiences and with a full repercussion on the media; Runaways (110x60’), about four women that meets in a jail, and The Quest (13x60’). From Canal 11 (Mexico) it stands Paramedics (36x60’), a shocking series based on real events in which a new group of Red Cross’ paramedics learns to work as a team in order to save lives taking the right decisions. While from the own produced slate highlights scripted series like The Strangers (13x60’) and Dreams (13x60’), and the hidden camera series, Goin’ Loco (20x30’), a multi-pranks & multi-victims hidden camera show filmed on the beach and in the streets of the beautiful resort town of Playa Del Carmen on the Mexican Riviera.

Paramedics, drama series produced by Canal 11 Mexico


ITV Studios: dark and compelling thrillers ITV Studios (UK) launches over 30 hours of brand new scripted series at MIPCOM, focusing especially in the Latin American market, along with Central and Eastern Europe (CEE) and China, Japan and South Korea. ‘We continue to work closely with Formata in Brazil, with second Ruth Berry, Managing Director series of BBQ Brasil and Youtubers both commissioned this year, while we recently signed a deal with AMC to air new seasons of The Graham Norton Show throughout LatAm on Film&Arts’, describes Ruth Berry, Managing Director. In contents the executive recommends the highly anticipated The City and The City (4x60’), Mammoth Screen’s production of China Miéville’s genre-busting novel for BBC Two; the brand new dramas Next of Kin (6x60’) and the Danish – Swedish – German co-produc138 PRENSARIO INTERNATIONAL

tion Greyzone (10x60’), about the events leading-up to a terror attack and premiering on TV 2 (Denmark) and C More (Sweden). Lastly are two dark and compelling thrillers from Tall Story Pictures: Bancroft (4x60’) follows a ruthless and courageous Detective Chief Superintendent, and Trauma (3x60’) is a psychological thriller centred on two fathers whose lives collide following a family tragedy. ‘Meanwhile our hit format Love Island will lead our unscripted slate, following the success of series 3 in the UK and the launch of the show in Germany on RTL2; Big Star’s Bigger Star, a spin-off from the 12 Yard format, Big Star’s Little Star, Cram (Possessed/ITV Studios Australia),  Celebability  (Potato);  Eat, Shop, Save (Shiver) and Keep It Or Cash The City And The City It (Imago)’, completes Berry.

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Gaumont: action for all ages

Smilehood: one story, different viewpoints

Gaumont (France) features Award winning dramas and brand new series like Verizon’s Go90 series, Relationship Status (36x10’ or 13x22’). Produced by Emmy nominated Milo Ventimiglia (This is Us) it is a modern day story that follows an interweaving cast of young people in Vanessa Shapiro, president of WW TV New York and Los Angeles as they Distribution & Co-Production navigate love and friendships. In scripted TV dramas, The Art of Crime (6x’60) is scheduled to debut on France 2 this season, and pairs a hot-headed detective with an art historian from the Louvre, whose relationship grows like fire and ice as they delve into the mysteries that capture French culture and history. And its first holiday TV Event 48 Christmas Wishes, a heartfelt story about two elves from the North Pole who must find lost “letters to Santa”. In the children’s and family space, the live action drama series Hetty Feather (30 x 22’), from CBBC, is based on the best-selling book by Jacqueline Wilson and set in a children’s home in Victorian-era London. And in animation, Furiki Wheels (52 x 11’) is a slapstick comedy about a hyperactive sloth that will premiere soon on France 3 and Disney XD EMEA, and Trulli Tales (52x11’ and 13x1’) is part storybook magic with a little Masterchef Jr. and a dash of wizardry. The series was commissioned by Disney Junior EMEA, RAI, Radio Canada and Globosat (Brazil). The Art of Crime

Smilehood Media (Argentina), led by Silvana D’Angelo, assists to MIPCOM with two big objectives: find new co-production partners and forge strategic alliances. On the other side it offers a catalogue of high value dramas, available both as format and finished product. Heading the slate is Caged (13 episoSilvana D’Angelo, Managing Director des), a thriller produced by Habitacion Sales & Co-Productions 1520 that explore to the limit the dramatic situation of confinement in tiny spaces such as elevators, basements and caverns or open places. From Onceloops the company recommends The Divorce (13+13), one dramedy that gives two versions of the divorce process a couple is going through from both points of view. Produced by Germina Films are The Cleaning Lady (13x48’). About a single mother that is forced to become the “Girl Who Cleans” for the Mafia, and The Bunker (12x30’), documentary series that research with a really deep and comprehensive look at the political strategies throughout America. Selected for the Snack N’ Screen at MIPCOM is SDO Entertainment’s Alchemy for Ana, available as format and for Co-Production. The romantic comedy centers on a woman whose life changes after the death of her best friend. Lastly, Ultimatum (13x26’), from Bastiana Films, and Sinapsis’s entertainment forCaged, thriller series available as format mat Dilemma. and finished product

The unknown side of Snap Media Snap Media (Argentina), company led by Ariel Tobi, arrives to Cannes with two big news: By one hand, it launched in August Purga, the first Latin SVOD platform dedicated to terror fans, and keeps growing in the digital business after almost 6 years being a Netflix aggregator in Latin America and the launch of YaSports in 2015. ‘We understand that today the Ariel Tobi, CEO great opportunity lies in the personalization of content since users are consuming it on their own terms and choose what they want to see’, says Tobi. Ann by the other, it’s promoting two series from Cinelatino for the US Hispanic market: El Desconocido, mini-series and Expedientes Criminales, about the incarceration of Honduras’ 12 most dangerous offenders. Based on real events, El Desconocido tells the fictional story of “El 142 PRENSARIO INTERNATIONAL

Cholo” Adrian, the right hand of the famous drug trafficker, El Chapo Guzmán. Directed by the Mexican Gonzalo González and written by Erick Hernández stands out for having a cast consisting of Guillermo Iván, Estrella Solís, César Enrique Manjarres, José Ángel Bichir, Mario Zaragoza, Paty Blanco, Marco Uriel, and Pakey Vásquez. ‘We are very happy to have this story in our catalog. Inspired by real events is a series that combines action and drama to show the human side of the characters and the multiple conflicts of those who run the most powerful drug cartel in Mexico. With this acquisition, we continue to add relevant and innovative content with stories that have never been told before and take them to their screens,’ El Desconocido said Ariel Tobi, CEO.

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Cordoba strengthens its audiovisual industry towards the international markets Last April, the Province of Cordoba —located at the center of Argentina— enacted an Audiovisual Law that brings concrete Roberto Avalle, minister of Industry, Trade and Mining, tax benefits to loProvince of Cordoba cal producers, and Gráfica for co-productions partnerships between local and international producers. The application is a responsibility of the Polo Audiovisual, which deDigital pends on the Ministry of Industry, Trade and Mining, headed by Roberto

Germina goes global

Avalle. Thanks to this Law, the audiovisual industry receives key tax benefits like gross incomes and property taxes exemption, subsidies for new workers and discounts on the lighting services for companies located in the Province. The law has its own fund, which worth USD 2.2 millions this year, distributed in Funding Programs for USD 1.4 million and Co-Production Incentives for more than USD 515,000, apart from a cash rebate subsidiary for the advertising industry (up to 50%), the support to participate at international tradeshows, and trade missions. The Funding Programs are applied through a jury for different genres: documentaries, fiction, videogames and animation. Cordoba has been a pioneer in Ibero-America, by including in the law the industry of the videogames.

Led by Paola Suarez, Germina Films is the business unit from Jaque Productora, a TV, movie and digital production house from the Province of Cordoba (Argentina) with offices in San Francisco (USA) and Ciudad de Mexico. ‘We produced La Chica que Limpia, premiered on GSN-Channel 4 (UK) and USA. Paola Suárez In Argentina, during the first three weeks available on CineAR it had 30,000 views. Through RM Vistar (USA) we are negotiating with US networks for the format acquisitions. There is a second season’, explains Suarez. RRPP is a co-production between Germina, Prisma, Bonaparte and Story Lab, all from Argentina, with Plural Filmes (Brazil). ‘We also have the documentary En el nombre del pueblo, in co-production with Señal Colombia, Precisoa Media, UFilms, FM Produções (Brasil) and Parox (Chile). Smilehood Media has the global distribution rights for the magazine-doc series El Bunker (12x’30), also with a second season starting’. Germina is looking for co-productions and offering the Province (see above) and National funds to invest in audiovisual projects. ‘We are developing the transmedia product Treebook, and series like El Especialista (10x’48), Quien es el Chef (8x’48), Educando a Leo (10x’48), La Ultima Cena (4x’48), highlighted during MIPCOM “Snack and Screen”, Fruta Extraña (8x’48), the period miniseries La Reforma (4x’48), as well as the movies Mundo de Cristal (documentary), Azul el Mar, El Guardian and Tunga, all them La Chica que Limpia, sold in USA and UK, distributed by RM Vistar in development’, she concludes. 144 PRENSARIO INTERNATIONAL

About animation, it was recently announced the creation of a production hub (Polo) in Unquillo, where the local municipality granted a property that will be fitted with funds from the Province. There are 11 animation producers in Cordoba. Co-Production is a key topic and the Province is working to improve its promotion globally with the objective of attracting investments and to allow local producers to join international partners and receive these benefits. Cordoba has 30 production houses and 17 videogame studios. 60 to 80 multi-genre productions took place every year for different screens. The Province offers landscapes and locations for TV, movie and digital productions, including rivers, mountains and antique cities.

Prisma: terror and web series

Prisma was born in 1993 in the City of Cordoba, Argentina, and since 2008 it develops and produces drama, animation and movies. The top IPs from the producer are the drama series La Purga, the animated series Capitan Dark and the docu-fiction series Los viajes de Azul. RRPP is the new series developed with Prisma and other partners, which is in preAntonio Pita, executive producer production. Viñedos is a drama series developed with The Blackout Projects (Spain), Giros (Brazil), Oeste Films and Prisma (Argentina). Locally it has co-produced the movies Vigilia en Agosto (Twins Latin Films), Rosita (Vegan Cine) and Qhapaq Ñan (Malevo Films, Oeste Films). ‘We are under production or RRPP and finishing the funding of Viñedos to be shot during 1H 2019, and starting the development of El Bosque, a terror thriller that won INCAA’s “Blood Window” award, where we’ll be investigating a double format of web drama series-movie; Mujeres Invisibles, and drama movie Overlake, co-produced with Brazil’, explains Antonio Pita, executive producer. Bloqueados is a drama series co-produced with Twins Latin Films, Tristeza is a web series-movie co-produced with Parox and West 112, both from Chile, and it is developing two projects: the drama series Foja Cero, and the terror movie Wolfram. ‘In the long term, we are looking for new opportunities and partners to co-produce projects, no matter the genre or format, and adding more transmedia elements RRPP, drama series co-produced with Brazil to the narratives’, he finishes.

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The Dynasty of Caracol

Caracol International (Colombia) highlights for the region a slate of dramas full of action and strong characters. Lisette Osorio, VP of International Sales, recommends specially El Bronx (60x60’), a super series where parallel stories that take place in the Bronx neighborhood, a dangerous sector of town with a mixture of faiLisette Osorio, VP of lure, disappointment and despair of thousands of International Sales drug addicts, drug dealers, merchants of dreams, and interspersed with love, faith an strong fraternity links. The Goddess (60x60’) centers on a woman who with her talent and love conquered a world of men with her joy, charm, kindness, craftiness, and optimism. She faced a chauvinistic world filled with jealousy and envy, bringing everyone to her knees. While Night School (60x60’) is a series full of drama and emotion, inspired by the stories of the millions of students in the world who resort to night education as their only way of getting ahead. Another hit drama at MIPCOM is the telenovela Dynasty (72x60’), the story of a singer who seeks to revolutionize the musical genre that runs in his blood, and with his passion and talent, he manages to captivate his crowds; but his fate was already written long before he was born. From the slate of original formats, Osorio highlights the second season of Another Level, with more emotions, demands and prizes than the previous one. Now from the first day will be rewarded those who conquer level 1. The chosen ones will face in a special concert where only the best ones will compete for an important prize in money. And Desafío Súper Humanos Cap. Cana, reality of survival leader at Colombia’s prime time along its fourteenth season. This new edition focuses on physical competition; only the best high-performance athletes can El Brox, super series be part of this challenge.

Alfred Haber: more reality

Booth #P-1.L50

Having previously secured free-to-air international rights for Seasons One and Two, Alfred Haber, president of Alfred Haber Television (AHTI), secured the exclusive international TV rights for the third season of the hit reality series Wicked Tuna, one of the top-rated shows on the National Geographic Channel across all demographics. AHTI is Alfred Haber, president now distributing Seasons one, two and three, and is making available 41 one-hour episodes around the world. As such, the company has already licensed the show to leading international broadcasters, including RTL (Germany), Seven Network (Australia), Modern Times Group (Sweden), and Polsat (Poland). ‘Season after season, NatGeo’s Wicked Tuna continues to be celebrated as one of the strongest franchises on cable television in the US’, remarks Haber. At MIPCOM the company with almost 50 years in the business is also promoting the 18th Annual Latin Grammy Awards (‘240), one of the most dazzling celebrations of Latin culture on TV that showcases the very top talent in the dynamic world of Latin music. Other hot titles are NBC/Spike’s World’s Most Amazing Videos (65x60’), a reality that that features shocking “caught on camera” footage of gripping, dramatic events, and the three seasons of Top 20 Funniest (49x60’). Now preparing for its fourth hit season, the international success continues to grow as comedic commentary charts the best viral videos, home movies, surveillance clips, event footage and news bloopers, while viewers count down to the week’s most hilarious video. Lastly, Alfred Haber keeps pushing in the international market Breaking the Magician’s Code: Magic’s Biggest Secrets Finally Revealed (18x60’) where magician’s sacred code of silence is broken forever as one of international TV’s most popular series ever. Wicked Tuna


Applicaster expands apps market Applicaster (Israel), leading provider of TV apps, is having a 2017 of full expansion and arrives to Cannes with two important news: By one hand, the company landed in Argentina through the app-building platform, Zapp, which gives users the possibility to launch an app or Roku channel in the blink of an eye. And by the other, it signed a deal Laura Tapias, General Manager for with Fox to launch several apps for some of Latin America and Spain the Studio’s shows. Applicaster already has a number of Roku apps on the market and will continue to provide solutions for Roku users in Argentina and around the world. ‘Latin American consumers have always been ahead of the curve in the 146 PRENSARIO INTERNATIONAL

adoption of new technologies, as demonstrated by their early engagement with media on smart phones. The increase in offering of smart set-top boxes at various price points will propel the penetration of app-driven TV in Argentina, and it’s clear to me that - as always - Latin American media companies will be quick to evolve’, says Jonathan Laor, CEO and co-founder. Among Fox’s new Applicaster-powered apps includes Top 30 and Laughs. Last but not least, the company named Sharon Gelbaum-Shpan as CMO to drive the company’s market expansion strategy, offering existing customers such as Fox International, Televisa, ProSieben.Sat1, Mediaset and DirecTV new high quality and modular SaaS platform and tools to quickly deploy quality media apps that engage audiences on all screens.

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Federation Entertainment: coproducciones con Latinoamérica

GRB: expand into the scripted space During 2016 and 2017, GRB Entertainment (USA) has not only strengthened existing partnerships, but also developed new ones relationships in both the global acquisitions and distribution marketplace, acquiring several new programs that is launching at MIPCOM and closing the sold of Man at Arms to A+E Latin America. ‘One of several new scripted series is The Bay, which follows the affluent, yet dysfunctional residents living in a posh seaside town cursed by a political figure who was allegedly murdered by his socialite granddaughter. But we also have two new scripted series from Roosterteeth: Day 5 and Crunch Time’, describes Melanie Torres, director, international sales. Day 5 is a sci-fi/thriller where falling asleep suddenly becomes fatal and a struggling addict must team with fellow overnight survivors to find an end to their waking nightmare, while Crunch Time is an edgy sci-fi comedy where a gang of brilliant students use big science for petty purposes and they accidently create a black hole that could destroy the world. ‘For fans of crime programming and celebrity we have It Happened Here, which visits seemingly ordinary places that are connected to some of the most graphic and controversial events in pop culture history; and The Stalker Files the chilling stories behind celebrity stalking cases involving Madonna, Gwyneth Paltrow, Steven Spielberg, and more’, she adds. ‘Our goal is to continue to expand into the digital and scripted

space. With both the recent addition of several scripted series to our catalogue as well as our latest sales to VOD platforms around the world, we are excited to be able to bring new and innovative content to our clients’, completes Torres.

Melanie Torres, Director, International Sales

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ABC Commercial launches Pulse

ABC Commercial (Australia) launches at MIPCOM the new medical drama Pulse (8x60’), with the participation of stars Claire van der Boom (Hawaii Five-0) and Pallavi Sharda (Lion) in the red carpet, before later joining producers Kris Wyld and Antony I Ginnane for a special screening and Q&A session to take place on Tuesday 17th at 3.40pm. Premiering on ABC TV in July this year, the series that reached a cumulative audience of 1.6 million people in its first week follows the story of a high-flying financial analyst who had it all before a failing kidney landed her at death’s door until a transplant offered her a second chance.

Lanzada en 2014 y con oficinas en Paris y Los Angeles, Federation Entertainment (Francia) se ha establecido rápidamente como una productora top indie europea, enfocada a series dramáticas y productos infanto juveniles que genera con su divisiones Federation Kids & Family y Cottonwood Media. Ha sido la única productora francesa en rubricar un acuerdo de coproducción con Latinoamérica: la serie infanto-juvenil Love Divina (60x’45), producida con Televisa (México) y Pol-ka (Argentina) se ha emitido en Latinoamérica y en Super! (Italia) y France Televisions. La compañía cerró un nuevo acuerdo con Universal Music Francia para nuevas plataformas. Otros éxitos de esta división han sido The Ollie & The Moon Show, vendido en 160 mercados en todo el mundo, Find me in Paris, licenciada a UniversalKids y Hulu (USA), Disney (Francia, Italia), France Televisions, ABC (Australia), ZDF (Alemania), Rai (Italia) y VRT (Belgium), y la comedia animada que lanza en MIPJunior, Squish! (52x’11), todas de Cottonwood Media. Ficción es un área clave y la compañía quiere replicar el modelo de Love, Divina en este género. ‘Tenemos en análisis cuatro proyectos de la región’, adelanta Leyla Formoso, head of sales & development para la región. En Francia, Federation Entertainment ha sido el primero en producir para Netflix, dos temporadas de Marseille con Gerard Depardieu. Ofrece series como The Bureau (40x’60), The Break (20x’60), Premonitions (10x’60), Hostages (22x’60), Bordertown (21x’60) y la nueva para MIPCOM, Bad Banks (6x’60). Cerró además un acuerdo clave de first look con Paramount Television que incluye coproducción y co-

distribución. El estudio de Hollywood creará además series locales basadas en formatos de la compañía. Finalmente, Formoso destaca el acuerdo con WeMake, que le permite entrar en el negocio del contenido no guionado. ‘Estamos incursionando en proyectos de VR. Todas estas novedades nos colocan en una posición

muy interesante para trabajar en proyectos de distintos géneros y multiplataformas’, completa.

Leyla Formoso, head of sales and development, América Latina

Bad Banks, nuevo drama



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Banijay: retro formats to reignite family Banijay Rights (UK), the international distribution division of Banijay Group, is a leading creator and producer of content with one of the world’s biggest independent catalogue of more than 20,000 hours including drama, formats, factual, entertainment, theatrical. This MIPCOM it launches a new version of Elliott Chalkley, VP Sales one of the most classical reality game show, Survivor (’60), from Castaway Television Productions for SVT. It tests the spirit of a group of ordinary, and yet extraordinary, people. Marooned on an uninhabited tropical island, with little more than the clothes on their backs and their own animal cunning, every second of their adventures as castaways is recorded over several weeks. Based upon the idea of Jacques Antoine & Co. and original format of Banijay Group’s Adventure Line Productions, Crystal Maze (’60) is a timetravelling game show adventure, where a team of contestants led by the Maze Master, journey through four fantastical time zones in this epic adventure game show. It is produced by Fizz —part of RDF Television— for Channel 4. Elliott Chalkley, VP Sales: ‘Survivor has been produced in more than 40 countries with recent series in Spain, US, Greece, Sweden and Australia. Along with Crystal Maze, both of these adventure reality formats don’t just rely on physical skill but also mental and skillful challenges’. ‘This combination makes for great entertainment across all demographics as the audience feels there is at least one challenge that they could

also do, or interactive at home. These shows are highly adaptable and can be produced as stripped or weekly broadcast slots which allows for a flexible budget’. Chalkley: ‘There is Survivor and Cryztal Maze, brand new adventure reality formats a current trend in bringing back retro formats to reignite family viewing and Saturday night entertainment. Survivor is a long running format with many seasons, which broadcasters can rely on to bring in top ratings and the structure is well known globally so is familiar to the audience, while Crystal Maze has returned to UK screens as a ratings hit bringing in audiences that would have watched the original show plus a new generation of fans as the show performs well for the elusive 18-34 year olds’. With a long and successful track record in distributing adventure reality formats, like Fort Boyard, Banijay Rights also offers Temptation Island that would also be a ‘great fit’ for Latin American audiences’, believes the executive, and launches at MIPCOM The ultimate test of faithfulness (’60), from Rocket Science Lab for Fox (USA), takes four couples in committed relationships and get them to spend 12 days and nights in paradise, without their partner.

Mediabiz: education platform

FNG: fact based dramas

Mediabiz (Argentina), business agent that represents TV producers and more than 20 fiction authors for formats and tailor made production projects, added to its line of work ClaseSiete, a gated and developed educational portal that seeks to promote the experience of renowned scriptwriters and directors, among other executives. Alex Lagomarsino, CEO For this, the company signed agreements with different universities in Argentina, such as the University of Buenos Aires (UBA), Universidad Austral and Universidad de la Empresa (UADE) to promote master classes with the presence of Jorge Nisco (Violetta, Comodines), Ricardo Rodríguez (Grande pa, Dibu, Yago) and Diego Carabelli, producer of Pol-Ka (Violetta, Soy Luna). ‘ClaseSiete an interactive education platform for the audiovisual industry in Latin America, aimed at all those who are studying a career related to audiovisual or communication and who are interested in working in the entertainment industry or communication. It’s also aimed at all those who already work and want to acquire new knowledge to perform their tasks more effectively’, says Alex Lagomarsino, CEO, Mediabiz. In addition to the master classes, ClaseSiete offers periodically videos and interviews with leading professionals in each of the areas of the audiovisual industry and communication, including writers, producers, directors, scenographers, art directors, directors and coordinators of special effects, editors, musicians and technicians who share their experiences. 152 PRENSARIO INTERNATIONAL

Fox Networks Group’s MIPCOM slate covers new and returning highend factual titles, formats and a wide range of big-hitting dramas; Latin American and Turkish dramas, and the first regional scripted commission from FNG Europe & Africa, Deep State (8x60), a contemporary, international espionage thriller; ant two titles Deep State from National Geographic’s new scripted focus: The Long Road Home (8x60’), based on Martha Raddatz’s best-selling book of the same name, and The State, from awardwinning writer/director Peter Kosminsky. From Turkish drama catalogue are the new 38x60’ series City of Secrets (Karga Seven); FOX Turkey’s first action adventure drama Warriors (38x60’) and The Untold Truths (30x60’). While from Latin America are the comedy Run Coyote Run (13x60’) and One Against All (8x60’). In Factual stands Diana: In Her Own Words (120’); Dian Fossey: Secrets in the Mist (3x60’); Hell on Earth: The Fall of Syria and the Rise of ISIS (120’), Year Million (6x60’), docu-drama that explores what it will be like to be human one million years from now, and When Nature Calls (6x60’).

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Gusto: food in 4K

Pol-Ka: Union make force

Gusto Worldwide Media (Canada), leading producer of native 4K food and cooking content, produces about 100 hours a year, so the company recently built a new state-of-the-art purpose-built studio specially designed for food programming. ‘2016 was a big year for us, because we Chris Knight, CEO partnered with Bell Media. That was only three short years after we launched Gusto, and that partnership means we are guaranteed to be making 100s of hours of content in the future. In this past year alone, we’ve doubled our 4K catalogue’, describes Chris Knight, CEO, and highlights new series like Flour Power, a baking show with a kitschy vibe and delectable baked goods; and Watts on the Grill, starring Spencer Watts. ‘And then there’s Latin Kitchen, focused on three Latin cuisines: Spanish, Mexican, and Venezuelan; Fresh Market Dinners, a series that showcases farmers markets and the delicious fresh dinners you can make with local, seasonal ingredients, and new seasons of some of our biggest hits, like A is for Apple, and One World Kitchen’, he adds. Knight completes: ‘We’ve really had a lot of interest all over the world. We’ve sold many of our programs in Asia, the Middle East, the Caribbean, and in Europe and we want to continue to focus on those markets; keep providing them the best food content in the world, while also reaching out to new territories to expand Gusto. Not only are we offering 4K/UHD food programming, we also have a huge number of digital assets that includes webisodes and hundreds of recipes we’ve developed and tested in our professional kitchen’.

Pol-ka Producciones (Argentina) keeps expanding its global presence through two main business lines: co-productions and alliances with global OTTs to reach new audiences. Manuel Marti, international production and development director: ‘This strategy Manuel Marti, International Production & Development Director took impulse in late 2016, after the ink of a partnership with Televisa to produce four series for its OTT blim, including Love, Divina, co-produced with Federation Kids & Family (France) and Televisa (Mexico). This year, it signed a deal with Turner and the MSO Cablevision to co-produce two series per year within the next five years, being La Fragilidad de los Cuerpos and El Maestro the first two. Adrian Suar, founder of Pol-ka: ‘Times changed, audience changed and the way the content is viewed is no longer the same as it was a few years ago. It doesn’t matter so much the platform where a program is broadcasted but the quality. Stories and production levels must be shocking’. In terms of distribution, the company is pushing I Want to be by Your Side (180x60’), about a woman whose life change after she see the results of her annual check-up, while at the dramedy Family Silence (20x60’), the house of a couple that became parents when they were very young sees upside down with the arrival of a young lady that start to work as assistant for the family by mistake Lastly are Fortune, Love & Betrayal (225x60’), about a rich family which’s residence doors hides a parallel universe; and Cunning Girls (174x60’), centered on five women that meet participating in a demonstration on the doorstep of the bank where they had deposited their savings I Want to Be By Your Side and which has suddenly closed down.

Flour Power, baking show

Turner: original and locally relevant Turner Broadcasting System arrives to Cannes with a portfolio with strong titles produced in Latin America and new animated series. Heading the slate is The Fragility of Bodies (8x60’), a thriller based on the homonymous novel and co-produced with Pol-ka (Argentina) that starts Sofia Martinenghi, sales manager when the news of the suicide of a train driver under mysterious circumstances arrives to a newspaper office. Also developed with Pol-ka is The Ballet Teacher (12x60’), about a retired ballet dancer, who away from the scenes, spends his days giving lessons in a school of dance of neighborhood that he founded with a partner and friend, also a former dancer. 154 PRENSARIO INTERNATIONAL

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On its third season, Rick and Morty (30x22’) teaches audience to respect the elderly, even if it involves a dangerous, crazy alcoholic who lives in a parallel world; and The Last O.G. (10x30’) centers on an excon who is shocked to see just how much the world has changed when he is released on good behavior from a 15-year prison stint. The half-hour series I’m Sorry follows seemingly confident, together comedy writer, wife and mom (Savage), who comically exposes her inner immaturity and neuroses through unexpected life situations, while the TNT US original series Will (10x60’) opens with a young William Shakespeare (Davidson) just arriving onto the punk-rock theater scene in The Ballet Teacher, Turner Latin 16th century London. America originals

//// exhibitors Booth #C16.D

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Inter Medya: formats and co-productions

Audiovisual from Spain: going forward

Inter Medya (Turkey) launches at MIPCOM several new drama series as well as a number of fresh formats created by its internal team. One of the drama series is Mrs. Fazilet and her daughters, the story about a mother and her two daughters who live a modest life with their dream of becoming rich. From the slate of format it stands Money Can Okan, CEO Monster, a quiz show where when the question is answered correctly, participants have the chance to count an endless amount of cash in 60 seconds and earn this if the specified sum is correct. ‘We also have 1 vs. 10, produced by BKM and broadcasted on Show TV. It’s an unusual quiz show where one contestant will be asked ten questions. But instead of answering these questions, he/she needs to choose the one who he/she believes will answer incorrectly from the 10 never changing rivals’, describes Can Okan, CEO. In terms of expansion Okan highlights especially the grew of interest from South East Asia, French-speaking Africa and Sub-Saharan Africa. ‘Broadcasters are looking for Turkish content because our have very well written stories; so drama series and feature film distribution is very important for us. We are expanding and entering into new territories and have reached more than 120 countries so far’, describes the executives and highlights that there has been ‘quite a lot of enthusiasm about potential co-development and co-production opportunities between Turkey and Latin America, for both, drama series and format co-development and co-production’. ‘Although we already have a wide-ranging format catalogue, of which 16 have been developed by our in-house creative team, we would like to continue expanding our catalogue by developing and adding new formats’, he Mrs. Fazilet and her daughters, new series completes.

Audiovisual from Spain, the umbrella brand used to promote the Spanish Content Industry in all the international television trade shows and any other promotional or commercial activity of the Spanish companies worldwide, sponsored by ICEX Spain Trade and Investment keeps working to makes the Spanish content visible to potential international buyers and gives support to both experienced and emerging producers and distributors. With good stories, talent, high quality production values, the Spanish content has stand out not only locally, but also easily liked by international audiences. A key factor is its strategic situation, forming part of the European industry, but with a long commercial background with America… whether it’s animation, fiction series or documentaries, its products reach all networks, with general entertainment as well as niche content. Among the top producers in Cannes under the umbrella are Onza Distribution, introducing the kids’ series Jungle Planet; All the Kids Entertainment, with Cayo Pico Eco Resort; Atresmedia TV, with a slate of dramas headed by The Incident; Anima Kitchent Media, one of the top animation producers, highlighting Cleo & Cuquin; the film and series distributor DLM International, and Mediaset España, launching the comedy She’s your father. Mil Ojos Producen presents I Love Wine; Prisa Video, The Best day of my Life; and Medina Media 4K, the documentary Spain as Never Seen Before. Lastly, are Brands & Rights 360, with a strong offer of kids content; Comercial TV, Jungle Planet (Onza Distribution) with Among Olive trees; Filmax International, company that is growing in the TV business with I Know Who You Are; Film Factory, with Sara Baras: All her voices, and the online platform for the trade Sara Baras: All her voices (Film Factory) film and TV rights, MediaBank.

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Kew Media Group: mystery and history

Kew Media Group (UK) produces and acquires more than 1,000 new hours of premium content every year and distributes Kew’s catalogue of film, television and digital assets, to more than 150 countries worldwide on almost every available viewing platform. Kew Media Group’s library contains over 275 theatrical feature titles and rights to more than 6,500 hours of TV and digital content including major drama series, non-fiction entertainment, special event programming, kids’ series, TV movies and mini-series.  Among the main titles at MIPCOM the company pushes Frankie Drake Mysteries (11x60’), detective drama series set in the 1920s; Crawford (12x30’), comedy series that follows a notFrankie Drake Mysteries, detective drama series so-typical family as they navigate 156 PRENSARIO INTERNATIONAL

the murky waters of fractured relationships, financial troubles, old resentments and new enemies, and Bees Make Honey (88’), a stylish 1930’s British murder mystery following a high society widow who hires a police inspector to probe the murder of her husband at her infamous annual Halloween costume party. Over the course of the raucous party, the Greg Phillips, President inspector discovers the crime is merely the tip of Distribution of a treacherous political iceberg.   Lastly are the drama series Date My Dad (10x60’), where since the loss of his beloved wife three years ago, a man’s only agenda has been to be the best dad he can be, and the documentary series Rolling Stone: Stories from the Edge (6x60’), which chronicles the last 50 years of American music.


//// SPECIAL report

Asia-Pacific, the ultimate audiovisual destination China, Japan, India and Indonesia will be among the Top 10 largest economies by 3030, according to the World Economic Forum. Here is a good reason to start paying attention to these key counties of the APAC region. Prensario summarizes the most important highlights. Asia is the largest and most populated continent in the world. It host 4,14 billions of inhabitants, representing 61% of the global population. It is the biggest producer in many key industries, but also the largest consumer. It plays a double role in the global economy, selling and buying. All in all it is responsible of the 80% of the worldwide economical growth. In terms of advertising, the region shows a leading global ad spend growth in 2016, according to Zenith’ Advertising Expenditure Forecast, while Latin America and Central and Eastern Europe showed a recovery, with that in the latter increasing from 4.1% last year to 7.3% in 2017. Booth regions are improving, but Asia Pacific remains the main engine of global ad spend growth. Jonathan Barnard, head of forecasting and director of global intelligence, stands: ‘China may be slowing, but it’s still growing at USD 5 billion a year, while India, Indonesia and the Philippines grow at double-digit rates’. Regarding OTT, Digital TV Research reveled that OTT revenues from TV episodes and movies will reach USD 24.41 billion in 2022, tripleing the USD 8.27 billion from 2016. China will command half of the OTT revenues for the 22 countries covered in the Asia Pacific OTT TV & Video Forecasts report by 2022; rising from just over a third of the 2016 total. China and Japan together will account for two-thirds of the region’s total

revenues by 2022. Advertising revenues on OTT sites and SVOD revenues are running neck-to-neck. SVOD will be the leader in 2017 and 2018, but AVOD will regain the crown from 2019. China will supply 61% of the region’s AVOD revenues by 2022 or USD 7.27 billion. APAC SVOD revenues will climb from USD 3,388 million (2016) to USD 9,090 million (2022). China will overtake Japan to become the SVOD revenue leader in 2017. Digital TV Research forecasts 234 million subs by 2022, up from 91 million in 2016. China will have 139 million SVOD subs (59% of the region’s total) in 2022. India and Japan will together account for another 50 million, leaving only 44 million divided between the remaining 19 countries.


The giant Asian market will add 850 million consumer to its middle class (earning between USD 16,000 and USD 160,000) between 2009 and 2030, according to OECD and Brookings. Just to compare, Europe is expected to earn 16 millions in the same period of time, while the US and Canada will lose 16 million. At the macro level, China’s middle class scale advantage will fundamentally re-balance the global economy, strategic power relations, and much more. ‘Even a tiny video niche can be highly profitable in such a vast, consumerdriven market. Branded content opportunities will proliferate: it’s a field where the West enjoys a creative advantage, at Worldwide growth in adspend, by region bloc (2016-2017) least for now. And where creatives enjoy access to decision-makers for Western brands that will be focusing on growth in China. At the same time, Chinese financial investment will accelerate Source: Zenith in Western


Top 10 Largest Economies in 2030 – In Trillions of USD 38.008

China USA

23.475 19.511

India Japan













3.638 0

to the increase— the economy continued to recover, albeit at a very modest pace. Real GDP growth stayed in positive territory throughout 2016, with the economy expanding 0.6% (2.3% on an annualized basis) in the January– March quarter, 0.4% (1.8% annualized) in the April–June quarter, 0.3% (1.4% annualized) in the July–September quarter, and 0.2% (1.0% annualized) in the October–December quarter. Japan’s advertising expenditures for 2016 totaled ¥6,288.0 billion (USD 57 billions), an increase of 1.9% compared with the previous year’s figure, according to Dentsu’s Advertising Expenditure in Japan. The gradual expansion of country’s economy in 2016 saw overall spending on advertising post year-onyear gains for a fifth consecutive year. Last year, advertising expenditures fell in Newspapers (-4.4%) and Magazines (-9%), while Radio (+2.5%) and TV (+1.7%; including both terrestrial television and satellite media-related spending) went up. As a result, overall spending in the traditional media posted a slight decline of 0.4%. In the Internet advertising market (up 13.0%), ads directed at smartphones, as well as video ads and ads using new advertising technologies and data applications continued to expand. Thus growth in the Internet medium remained the key driver for advertising expenditures overall.

Japan’s Advertising Expenditure, by media

5000 10000 15000 20000 25000 30000 35000 40000

Source: PricewaterhouseCoopers

media, in both established businesses and startups’, explains Peter Hamilton, from DocumentaryTelevision.com. On a special highlight about the market, he states: ‘The TV channels are now opening up, slowly. CCTV9 Documentary Channel is cautiously returning to copro’s, and with more savvy than earlier in the decade. Terms and practices still lack standardization. China International Capital Corporation Limited (CICC) is “the most reliable copro partner” for Western players. It funds 20+/- hours / year of copro’s with Chinese broadcasters and international partners, and contributes up to 50% of budgets for specials of around USD 1.2 million. Main topics: Chinese History, Engineering, Science, Blue Chip Wildlife and China’s Culture’. JPMorgan Chase estimates that China’s SVOD base will grow from 144 millions to 234 millions in 2020. That’s close to the projected cable subscriber base of 248 million in 2020. Leading players in 2017 are iQyi (99 million subs) and Tencent (81 millionns). Hamilton highlights: ‘SVOD and online video is a Wild West, booming largely outside the heavy hand

Source: Dentsu’ Advertising Expenditure

of the regulators. The acquisitions process is quite impenetrable to outsiders: buyers are not attending industry events, but they are “nimble” and can pay “real money”. Hamilton offers some advices: ‘The solution for Western producers and distributors is to move slowly, go to China and listen, and build relationships. Westeners need a broker or local partner; library buys are preferred to individual documentaries or limited series. Most deals are revenue shares, and minimum guarantees are rare. Chinese buyers usually localize the content, but require delivery with English CC or subtitles’. He concludes with another trend: ‘The key trend in developing IP in China and internet novels, which are increasingly the main source of IP for Chinese films, television shows, and games. 76% of source material for Chinese drama series originate from novels. Breakout Internet novels now fetch USD 1 million, the hottest ones: USD 7.5 millions. Tencent and Alibaba are building out their own digital publishing arms to incubate content’.


Although the local government postponed the consumption tax rate increase planned for April 2017 —resulting in a lack of extra demand that had been anticipated in the lead-up

South Korea

South Korea is another big exponent of the Asian growth not only in the traditional TV business, but also in digital. Country’s paid-for online video market is projected to South Korea export value, by genres more than triple to USD 433 millions in 2021 from USD 142 millions in 2016, according to IHS Markit. This market is one of the biggest in Asia, with annual average revenue per user at USD 97 for subscription services in 2016, compared to USD 103 in Japan and USD 31 Source: Korea Communications Commission’s Findings of the 2016 Survey of the State of the Broadcasting Industry in China.

‘South Koreans are more willing to pay for premium content now, and most of them will have multiple streaming subscriptions in the future’, explains Jun Wen Woo, analyst at IHS Markit. ‘High smartphone adoption, availability of low-priced subscription services, as well as the entrance of new local and international services, will also contribute to the growth of the market’, she added. POOQ and TVing are two notable online video subscription services with regards to subscriber numbers, while Google Play Movies dominates the transactional business with more than two-thirds of market share in revenue. The Apple iTunes store is currently unavailable in South Korea. Pay TV providers, KT, SK Telecom and LG Uplus, as well as CJ E&M and major broadcasters, have expanded into digital, following the popularity of watching video on smartphones and tablet PCs. Regarding content exportation, Korea has established itself as a big drama provider not China’s Middle Class, 2009-2030 - In Millions

Source: OECD

only in Asia, but also worlwide. Since 2000, the country began to experience the booming popularity of its dramas across Asia and Latin America. The Korean Wave was born. According to the Korea Communications Commission’s Findings of the 2016 Survey of the State of the Broadcasting Industry, total content exports was USD 301,9 millions in 2015, showing a decline of 3.8% from 2014. The total export value rose annually from 2011 but peaked in 2014 and fell slightly in 2015. Drama is by far the largest category accounting for 79.6% (USD 172 millions), followed by Variety with 14.4%, animation, 8.8%, education and documentary with 4% each. By regions, Japan was the largest importer of South Korean TV programs in 2015 at 32.9% (USD 70,98 millions), followed by China with 24.3%, Taiwan with 10.1%, USA with 6.8% and Hong Kong with 5.1%. The East Asian markets accounted for 72.4% of the total. PRENSARIO INTERNATIONAL 161


//// SPECIAL INTERVIEWs / broadcasters

NHK: the future arrived a long time ago NHK, Japan’s only public broadcaster, is not only a key player in the local market, but also a reference for the international market as a pioneer developer of 4K and 8K technologies for broadcasting. It was the first to launch HD in the ’80, well over a decade before the technology became mainstream. It was the first also to provide UHDTV-4K, and in August last year it was also the very first broadcaster in the world to launch a TV network for 8K. The initial transmission of the “Super Hi-Vision” test channel offered a mix of content in both 4K and 8K resolution, including music concerts, highlights from the London 2012 Olympic Games opening ceremony and footage programming. Japanese manufacturer Sharp has just announced the launch of the first ever 8K TV set. 8K AQUOS will be available first in markets like China and Japan by the end of 2017, and will expand to Taiwan and Europe next year. It becomes necessary to expand the 4K and 8K TV-set base, to expand the technology. About contents, MIPCOM has become the main windows’ for NHK 4K programming releases and this year hosts another milestone: Kurara: The Dazzling Life of Hokusai’s Daughter is NHK’s brand-new drama about the life of Japan’s best-known artist and is the first 4K drama program to have an official screening in the history of the Cannes-based event. NHK operates four nationwide TV channels: the mainstream network General TV (news and documentaries, drama, talk shows, quiz shows, comedy and music) and Educational TV, dedicated to the learning of people of all ages. Also, the satellite channels BS-1 (news, currentaffairs, sports), and BS Premium (culture and entertainment, arts, music, movies and foreign dramas). Prensario asked Yukari Hayashi, Senior Content Development, Programming Department, NHK about the challenges and opportunities for a pubcaster in an ever-changing multiscreen scenario. ‘The influence of will become bigger in the coming years in Japan. SVODs like Netflix, Hulu and Amazon are gradually growing, Kurara: The Dazzling Life of Hokusai’s Daughter is the first 4K drama as well, and adding to program to have an official screening in the history of the MIPs JAPAN: TOP TEN PROGRAMING

Title Sekai-no Hate-made Itte Q Gyoretsu-no Dekiru Horitsu Sodansho (3Hrs SP) 2018 FIFA World Cup-Related SP Shoten Odoru Sanma Goten SP Nakai Masahiro Kinsuma SP The Tetsuwan Dash NHK News 7 Kinkyu Torishrabeshitsu SP Boxing Festival - Higa versus Murata Source: Video Research 162 PRENSARIO INTERNATIONAL

Station NTV NTV TV Asahi NTV NTV TBS NTV NHK TV Asahi Fuji

Viewership 22,2 20,2 19,7 18,8 18,1 18,0 18,0 18,0 17,9 17,8

the fact that these can also be seen on smartphones greatly influences the way people watch content’, she answers. A new live streaming Internet TV for Yukari Hayashi, Senior Content Development, Programming Department, NHK PC and smartphones launched last year, AbemaTV, is a good example. ‘Services available on smartphones like these will surely change the way adults consume content, and this will also influence kids’ way of consuming content’, she adds. ‘Broadcasters have now to compete not only with other broadcasters but other content creators/providers of all kinds’, remarks Hayashi and highlights a key age segment: kids. ‘The interactivity where the screen changes by their touch fascinates them and this is very different from the passive viewing experience. Although NHK’s nursery TV programs are extremely popular now and kids are glued to the TV set, we will surely be competing for eyeballs with content available on smartphones in the near future if not now’. This is one of the biggest challenges, as young audience is not watching TV. ‘They have so many media and contents to choose, so TV is becoming less popular. Our programs still boasts tremendous popularity among the nursery school and preschool children, but for the young audience in their teens and up, it is very difficult to get them’. ‘They don’t want to see something they’ve already seen before, and anything that has a scent of “teaching/education” they detect and will reject. Many youngsters record the content and skip parts they don’t find interesting, and so their content consumption is very fast. It is, of course, very demanding to continue offering them something new’. To attract them, NHK is trying out new strategies. ‘Rules of R is a daily show that conducts research and presents the results thereof from the high schooler’s perspective through rankings. To further engage young people, the program initiated a trial, incorporating social media (LINE, Twitter), video sites, etc. The result was extremely good, tripling the access to the program’s website from the previous year’. ‘We have founded success in programs targeting family viewing. Creative programs that are fun and interesting to watch for both kids and their parents work well. Programs like Design Ah! and Discover Science are good examples’, comments Hayashi. And he concludes: ‘NHK is a big production house, so we produce most of our programs in-house. But we do acquire animations and dramas for children viewers in order to enrich and diversify the programming on our Educational TV channel. So we are basically looking for programs that have a distinct characteristic from what we Genre Entertainment usually create and air’. Entertainment Sports Comedy talk Entertainment Entertainment Entertainment News Drama Sports

Design Ah! creative show for children and parents


//// SPECIAL INTERVIEWs / broadcasters

ANTV evolves with the Indonensian TV industry Indonesian leading broadcaster ANTV has been repositioning itself from September 2013 until today with an ever-growing performance in YTD share: 11.2% (2014), 11.5% (2015), 14% (2016) and 15.2% (August 2017). The network evolution was not only in numbers, also in the content strategies and digital business. Otis Hahijary, VP: ‘Recorded since our establishment in 1993 until 2013, our performance share was ranging from 4-7% and was at the bottom position as entertainment TV. Strategy changes at the end of 2013 caused us to enter the tier 1 FTA line in Indonesia, with second position (YTD up to August 21, 2017)’. Prensario wanted to know more about the reason of this growing. ‘This is the result of a new programming strategy. First, every day part is prime time: all slots could be the main as long as they suit the target audience. For example, in morning, which is mostly watched by men and children, we present journal and news variety programs as well animation and during noon, which is mostly watched by housewives, we offer Indian drama series’. Second, it provides a “Unique Value Proposition” by continuing to take the unique value inherent to a program to be developed/expanded into other programs like the examples above. Third, the untapped market: ‘We always targets market programs that have not been taken by competitors’. Four, a 360 campaign, in order to maintain audience loyalty staying/ watching the channel. ‘360 promo is an integral part of our effort to accommodate budget from sponsors who advertise through on air and off air activities, whether through its own media, other media and digital’. ANTV placed three proLocal series Kecil-Kecil Jadi Manten and grams in the top 15 programs Jodoh Wasiat Bapak

from January to August, 2017 and among those programs are local content, such as the local series Jodoh Wasiat Bapak, Cantik Cantik Kucing Dapur and Kecil-Kecil Jadi Manten. ‘In 2016, we produced 32 drama titles and 18 entertainment titles. And in 2017, we aired 21 drama and 8 entertainment titles’, adds Hahijary. ‘We do not merely purchase foreign titOtis Hahijary, VP, ANTV les and put them into air, but far from that we reprocess the uniqueness of foreign series by letting Indian artist to play in our local series like Cinta Di Langit Taj Mahal, who brought Shaheir Sheik, the cast of Arjuna in Mahabharta came to Indonesia, or entertainment programs like Mahabharata Show, Bollystarvaganza and Panah Asmara Arjuna’. From the top 10 data this year, it can be confirmed that series are still major show in Indonesia FTA, besides entertainment talent search and comedy. ‘Looking back, this pattern has not changed significantly in this last five years. It proves that Indonesian viewers watch series the most. Changes made to anticipate boredom is usually by updating the content, adding new artists or changing the theme that suits the audience best’. ‘Digital media is experiencing rapid growth as print media and radio are showing a decline, although TV is still a mainstream. TV penetration is still above 96%, reaching all Indonesian media viewers. TV and internet viewers are complementary, recorded that the duplication of TV and internet users is still above 90%. Looking at this fact, we run a 360-campaign strategy with media mix campaign so that all media used by ANTV can still reach all the characteristics of the audience’. About the future, Hahijary concludes: ‘We will surely bet on more strategic partnerships, as this is an important part of our programming strategy. In the near future for example, we will participate in joint production for a talent search event with its partner in India’. Indonesia: Top 15 program (January-August, 2017)

Indonesia: audience share, by TV networks - All People (2001-Aug. 2017)


Source: AGB Nielsen Media Research


//// SPECIAL INTERVIEW / BroadcasterS

Channel 31: safe and family content Owned by Russian CTC Media, Channel 31 is a leading TV channel in Kazakhstan, positioning itself as a family channel. It produces a large share of high-quality national products on its own and it is a leader in new entertainment formats and exclusive owner of the Category A first show movie content, and also a guide of TOP trends in serial lines ‘Time for the Best Serials” and ‘Best Home Cinema’. Own-produced TV projects in Kazakh and Russian take a considerable part of the channel’s airtime. They are situational comedy series, news and entertainment programs including humorous shows. ‘We are encouraged that the viewer expects local content’, says Bagdat Kodzhahmetov, General Director. He continues: ‘Studies have shown that Kazakhstan people like to watch concerts, series and humorous shows, and the viewer who comes to Channel 31 wants to relax, have fun, escape the everyday bustle and get positive emotions from viewing. Accordingly, we decided to focus on two genres: situational comedies that combine serials and humor, and humorous shows or reality shows with elements of humor. Channel 31 launched last month the musical project I am a singer Kazakhstan in September. This large-scale talent show will be broadcasted in six countries at once on national TV channels with a total coverage of more than 200 million viewers. In the last season of the Chinese version of I’m a Singer, Dimash Kudaibergen, a signer from Kazakhstan, became the worldwide star: great personal charm, incredibly wide and unusual vocal range, and, of course, the unexpected choice of list of songs allowed him not only to significantly go faster his competitors, but really to say a new word in the global show business. Kodzhahmetov remarks: ‘The format has sigKazakhstan: TOP TV Channels (January-September, 2017)

Eurasia First Channel




Channel 31








Channel 7

5.9% 5





nificant differences from such similar projects as Got Talent, X Factor, The Voice. Only professional musicians or outstanding persons of natural gifts participate there. Only the world’s popular music super-hits of various genres will be song. But the main thing is a completely different mechanism of selection of participants within the project: the audience in the stuBagdat Kodzhahmetov, dio will vote, and the seven strongest General Director, Channel 31 participants will go to the end, to the final, where three winners will be determined’. In addition to own-produced products, Channel 31 presents the best foreign television projects to its viewers. They are top-rated programs, movies and new serials produced by Turkey, India, Russia and Philippines. Today in Kazakhstan almost all citizens of the country watch TV, which remains for the majority the only free-of-charge source of information and entertainment. Regarding specific genres, the Kazakhstan people like serials, movies, news and shows. A special study showed that Channel 31 audience are women aged 18 to 40 years who have higher education, while keeping the house and bringing up children. It is their interests that determine the Channel’s thematic scope. ‘Kazakhstan has family traditions, faith in the future, and perhaps, we also have great love and respect to the head of the family due to eastern mentality’, Kodzhahmetov comments. ‘In our studies we did not put any political tasks, we had only to understand the electorate, if I may say so. And in the course of this study, we found that the society itself is predisposed to preserving family traditions. Accordingly, we determined that our Channel, starting from autumn 2013, positions itself as a national entertainment channel in Kazakhstan for family viewing. And we have defined for ourselves a clear rule: everything that we produce, everything that we buy to show our viewers, should be safe for family viewing’. Why? He concludes: ‘Because all members of the family at certain times of the day is necessarily gathering together to watch a TV, besides the nationality does not matter - our channel is watched by Russians, Kazakhs, Koreans, Germans and Uzbeks... And these people, as a rule, have strong family traditions. And what the family a Singer Kazakhstan, a big project produced will watch is determined by Iinam the country and broadcast in six markets reaching 200 million viewers the woman’. PRENSARIO INTERNATIONAL 13

//// SPECIAL interviews / Broadcasters

Moby Group: emerging markets, new opportunities Moby Group is a leading media group with operations in South & Central Asia, the Middle East and Africa. Headquartered in Dubai, it employs over 1,200 individuals across 16 businesses serving over 300 million people through its activities in broadcasting, digital & online, production, strategic communications, publishing, music, sports and research. The group operates the leading network in Afghanistan Tolo TV plus Massood Sanjer, director Tolo News and Lemar, Farsi1 in Iran, Kana in Ethiopia, and 101 India. ‘We have local teams in each territory’, explains Massood Sanjer, director. ‘We mainly broadcast family drama from different Turkish providers as FOX, Kanal D (Fatmagul), TRT (Resurrection), Global Agency (Broken Pieces), ATV (Valley of Wolves), as well as from India and Latin America (El Capo-RCN, Brazil Avenue-Globo)’, he adds. Local shows are mainly game shows, like the adapted versions of Deal or not Deal, Minute to Win It (Sony), Divided (Talpa) and Family Feud (FbremantleMedia) in Afghanistan, India, Iran and Ethiopia, as well as The Afghan Star, the leading singing contest from the first market with 12 seasons on air. The grid in Afghanistan is composed by news at 6pm, drama at 6.30pm, entertainment at 7.30pm, and then other two dramas at 8pm and 9pm. ‘We have 800 employees in Afghanistan with 4 high tech studios to produce our own content. 45% of it is original, and Afghan Star, season 12 on Tolo TV 55% is acquired’, concludes. Afghastan audience share, per network. 33%

Tolo ToloNews


Khurshid TV

6.8% 5.6%

Yak (1) TV Shamshad TV


Ariana TV


Naab TV


3 Sport RTCTV













Source: GeoPoll’s Media Measurement Service (1Q 2017) 168 PRENSARIO INTERNATIONAL


Ariana TV: going forward Ehsan Bayat, founder of Ariana Television and Chairman of The Bayat Group, launched the network in 2005 and it now serves more than 25 millions. ‘We are very proud of Ariana’s role in two vital areas: in helping launch and lead the formation of Afghanistan’s private media sector and the fact that our network has served as a strong champion of the idea that a free press, one that Ehsan Bayat, CEO serves the public by providing timely and accurate information, is essential to country’s growth and progress’, he Bayat. ‘Our broadcast strategy is focused on three areas: information, content and entertainment. Ariana’s programming places particular emphasis on education, health, children’s programming, women’s and world issues, and the Ariana team takes great pride in broadcasting accurate, unbiased news to the audience as events occur. ‘The 2017-2018 season illustrates our commitment to developing our own original programs representing a cross-section of genres, while also acquiring top-flight regional content which is popular with our audience. Highlights from our original content offerings includes the development of new health and wellness programming and new nightly dramatic serials. We will also acquire the broadcast rights for some of the region’s most popular Indian and Turkish serials’. ‘Afghanistan is a tackling the tremendous challenge of rebuilding our nation —not just of our physical infrastructure and our institutions, but also our history and culture. Ariana broadcasts a large number of programs which provide our audiences with practical, but vital information on a wide variety of subjects even how to cook a healthy meal for their families. Providing our viewers with information that informs and educates is at the heart of our content strategy and guides how we develop programming for our market’. Future plans? ‘We continue to expand our development of original content; we look for important public service/social messaging opportunities that we can leverage our media reach to support; we continue to look at the convergence of telephony and media, and see how we can leverage the relationship between Afghanistan’s growing population of mobile subscribers receiving 3G and LTE access and our media ventures; we consistently review opportunities for cooperation with a number of international media partners’. Musafer, cooking and travel show


Japan: Kyoki Kiriyama, senior manager acquisitions from Disney; Takuya Wakizaka, senior programming manager of DLife; Toshibaru Tanio, senior manager multiplatform programing at NTV, and Kyoko Sekine, senior manager content acquisitions at Hulu

Fuji TV Network (Japan): Takeshi Goto, Takayuki Hayakawa and So Fujinuma, general producers, Worldwide Production and Sales, International Department (photo credit: Fuji Television Network)

ABS-CBN (The Philippines): Pia Bacungan-Laurel, international sales, Fernando Villar, head, integrated marketing, Eveyn “Leng” Raymundo, VP integrated programming acquisitions and distribution, and Rachel Simon, head of acquisitions

Digital media in South Korea: Gi-Uk Seong, assistant manager, ICT Business Unit, KTH; and Chanyoung Park, manager, content acquisition team, LG Uplus

Japan: Ryo Kamitakahara, general manager acquisitions, and Setsuko Hatate, acquisitions, from Tohokushinsha Corporation, with Star Channel: Mteko Endo, assistant manager, Hiroko Ozawa, manager programming & marketing

Buyers from CJ E&M (South Korea) at the NBCUniversal cocktail: Jae Hyuk Lee, SVP, global content; Jinwoo Hwang, head of global content development; Deok Jae Lee, president of media content business, and Jaesong Lee, head of global strategy

CJ E&M: Jae Hyuk, SVP, Ellian Liche, Seeun Kim, and Spencer Thomas, producers of the global production team, factual

GMA The Philippines: Jose Mari R. Abacan, First VP program manager department, and Carmina M. Catacutan, program administration

Dien Duan Media & Entertainment, Vietnam: Do Van Buu Dien, founder and chairman, surrounded by Nguyen Thi My Huyen/Milet, external affair executive, and Ho Ngoc Thuy Diem/Kat, head of content acquisitions and distribution


NHK, Japan: Chie Muto, acquisition manager; Tadatsugu Uesugi, global content development and programming; Miwa Komori, senior manager acquisitions, and Shinya Aoki, deputy general manager & strategy

Buyers from Kansai TV 8 (Japan): Noriko KatayanagiBonafede, funding board member; Takuya Kanatani, deputy content manager; Takaaki Satou, senior content division, and setsuko Omura, content business department

D’Live, Pay TV and OTT from South Korea: Yong-Ju Jeon, President/CEO, surrounded by Min-jae Seong, executive supervisor, division head, OTT; In-sanx Hwang, EVP corporate support office, and Stella Kim, general manager, E&M strategy

BBC: Melanie Rumani, content acquisitions worldwide, with Ryan Shiotani, VP, content, Asia

//// MORE ATTENDING BUYERS & producers

Reggie Erojo, acquisitions and programming, and Wilson Y. Tieng, president and CEO, Solar Entertainment Corp. The Philippines (borders) with Ronald C. Leong, EVP, Regal Media Worldwide Ltd. (Hong Kong)

Vietnam Television (VTV): Nguyen Thi Kim Dung, chief accountant, finance department, and Do Thin Ngan Hang, Vice Manager, acquisitions and sales

Bounchao Phichit, director general, Television Nationale Lao (Laos)

Asian buyers: Nisa Sittasrivong, programme acquisitions, and Attaphon Na Bankxang, managing director, both from True Visions TV (Thailand), with Joy Olby-Tan, lead acquisitions at Mediacorp (Singapore)

TKL, Vietnam: Ton Nu An Tram, screening manager, Nguyen Thi Truc Mai, managing director, and Le Van, senior programming manager

Hang Meast HDTV, Cambodia: Eng Song Liep, program executive, and Eng Leanghong, content acquisition manager

Network Ten (Australia): Dam Monaghan, head of programming; Paul Anderson, CEO; Glen Kingey, independent; Beverly McGarvey, CPO; andDanny Mitrovic, programming & content manager, Win Network

ANTV, the #1 channel in Indonesia sustains its leadership thanks to the Indian series broadcast on prime time: Gunawan Gunawan, manager of acquisitions, Kiki Zulkarnain, general manager programming, and Raymond Charles, assistant manager

Triandy Suyatman, program advisor, PT Elshinta Jakarta Televisi, Indonesia

Emilya Ab Rahim, general manager, operations, acquisitions and content management, and Jalhaliah Hasan,manager acquisitions, Media Prima Malaysia (borders) and Christine Seohyun Kim, manager content business team 2, JTBC (South Korea)

Anha Benessalah, acquisition consultant for Africa, Arte France; with Lies Belaribi, director of programming at the Algerian Public Broadcaster, and Ameur Behlour, executive director, Gosto Productions, also from Algeria

The ‘Nolywood’ OTT Iroko Global (Nigeria/UK): Nikhil Patel, general manager, Jason Njoku, CEO, and Bola Ogidan, GM Iroko Networks

India and Malaysia: Akhil Mehra, director Star India; Chen Kheng On, content, and Marie Lee, associate, both from TM Malasia; the actor Michael Weatherly (Bull, CBS); Dharmesh Gandhi, content English Channels, Yogesh Manwani and Keishnan Kutty, acquisition managers, all from Star India

Buyers from Viacom 18 (India): Rohan Lavsi, AVP, business planning; Shaheed Degani, Associate VP; Ankit Shah, director, central commercial; and Pradip Thakker, content director

China: Coco Ma, GM, Content Acquisition & Production, Sohu Video; Jiang Bin, Vp/GM, iQIYI; Chang Jingyao, formats sales director, IPCN; Hao Fang, chief exectutive producer, LeTV; Tao Yixiao, director, Shanxi Satellite TV, and Chen Manman, COO, WeKids

Chea Chee Kong, Chief Content Officer, Mediacorp (Singapore); Yuan Li, Chief Content Officer, IPCN (China) and Josh Black, CEO, GroupM Apac (Hong Kong)

Buyers from SCTV Indonesia: Sherly Wijaya Sari, international acquisition, and Harsiwi Achmad, director

Astro Malaysia: Henry Tom, COO; Khairul Anwar Salleh, VP Malay Customer Business; Agnes Rozario, VP Content Group

Buyers from Lebanon: Elias Hashem, general manager, and Maya Joubran, director of business development, both from Charisma Group; and Nidal Monzer, head of acquisitions, Media Link International

African buyers: Saira Sow, acquisition director, and Laura Mackenzie, programming director, both from Kwesé TV, new panregional satellite channel (middle), with Josephine Muhutu-Remy and Chris Tent, from Disney Africa

TVB, Honk Kong: Nancy Lay, acquisitions; James Chang, EVP, Tepo Mass Media; Wallace Wong, Senior Programming Manager, Sang Au, Senior Content Operation Manager

Buyers from Irib Media Trade (Iran): Mohammad Haghshenas, head of coproductions; Leili Kafi, head of coordination; Fatameh Javahersaz, contracting manager, and Mehdi Minaei, programming manager, with Armin Luttenberger, director TV, ORF (Austria)

Buyers from RTI (Ivory Coast): Sanga Toure, director RTI1, and Didier Bleou, director RTI2

Peggy Y. H. Tong, senior programme manager, and Ally L. K. Choy, assistant programme manager, TVB Hong Kong (borders) with Karolina ChowaniecStawiarz, international sales, TVN (Poland)

KKTV, OTT from Taiwan: Shao Chen, senior manager, Grace Chang, project manager, and Dennis Yang, EVP, business development & product operation

Roxanne Barcelona, VP, and Paolo Laureana, manager, GMA Worldwide, with Mukhtar Lashkari Mohammad, channel director, and Raouf Oria Abdul, deputy channel manager, 1TV Media (Afghanistan) and Jose Escalante, CEO, Latin Media/WRC (USA) PRENSARIO INTERNATIONAL


//// exhibitors Booth # R7.D 5


Rai: global content, Italian taste

Rai Com, distribution arm of the Italian pubcaster Rai, led by David Bogi, Head of International Distribution & Business Development, arrives to Cannes with a catalogue of over 1,900 titles, including from dramas to kids’ series and headed by David Bogi, Head of International the crime series Inspector ColianDistribution & Business Development dro, which follows ‘the improbable adventures of an improbable inspector of the Italian Police Force’. At the series, Inspector Coliandro saves the day also, but mostly by a combination of luck and his younger partner’s intuition. He is ignorant, crude, and despised by all his colleagues except his partner, who is the only one who views him the way he views himself: as a hero worthy of the good guys in American cop movies. Another big bet for this market is Alex&Co, produced by The Walt Disney Company Italia in co-production with 3zero2 TV, and that follows childhood friends as they begin high school. Alex, a smart, fun-loving boy, thinks that high school is going to be one big party. The school head wants the school to hold its place at the top of the academic tables and insists students concentrate on traditional subjects, rather than music, singing and acting. With a second season in production, the period drama The Ladies’Paradise is inspired by Émile Zola’s Au Bonheur des Dames, and tells the story of a large department store in 1950’s Milan, a magical place where dreams come true and everyone can share in the “beautiful”. While Quartino Friends (106’) is a film that follows a 22-year-old turbulent and ignorant slacker from Trastevere, and at Close Murders, co-produced with FramantleMedia Italia, jealousy, vendettas, repressed anger or simply a momentary breakdown, are the main characters. Inspector Coliandro, police series

Telefe, thinking like a pan-regional studio

With the integration to Viacom’s structure, Telefe (Argentina) has managed to grow not only in turnover and hours sold, but also added new customers. ‘We took a big leap. From being a leading TV channel in Argentina, to thinking like a pan-regional studio that owns the IP of everything it produces’, remarks Guillermo Guillermo Borensztein, Head of Borensztein, Head of international business. international business ‘Telefe was already a powerful and recognized brand; but we are now much stronger and with a greater scope of distribution. Part of the strategy was focused on promoting this distribution of our finished and formats, while consolidating a single team that can offer in a comprehensive way the catalog of all the brands in the portfolio of the group’, he adds, and highlights the penetration in the US Hispanic market after the ink of deals with Telemundo and Univisión. Other recent successes include the launch of the Mexican versions of Amar después de Amar (Caer en Tentación, Televisa) and Sres. Papis (Muy Padres, Imagen Televisión) and the sale of Sres. Papis in Slovakia (Markiza) and Graduados in Serbia (PRVA). ‘For 2018 we want to grow more in Europe and Africa’, says Borensztein. Another focus according the executive is to position the company as a pan-regional studio, producing in Argentina and coproducing more and more at the regional level. A good example is El Infierno de Eva, the first series coproduced with Ecuavisa (Ecuador), which seeks to replicate in part what Telefe did in Peru with El Regreso de Lucas (América TV). Lastly, at MIPCOM he recommends Golpe al Corazón (80x60’), the Mexican version of Sres. Papis, the mini-series Un Gallo para Esculapio (10x60), coproduced with Turner, Cablevision, and Underground, the biopic Sandro de América Un Gallo para Esculapio, coproduced with Turner, (The Magic Eye), and Vikky RPM (Nickelodeon).

Cablevision and Underground

Samarcanda Film: ‘originality, identity and vision’

Established in 2013, Samarcanda Film (Italy) produces and distributes more than Jacopo Fantastichini, CEO & Co-Founder 200 hours of scripted/unscripted programs TV and has developed partnerships in North America, Latin America, Europe and Asia. Beyond distribution, Samarcanda Film is focusing on productions, co-productions and creative cooperation with writers and partners. ‘Our goal is to invest our own talents and resources in projects whose contents have 172 PRENSARIO INTERNATIONAL

specific editorial features: originality, identity and vision’, explains Jacopo Fantastichini, CEO & Co-Founder. In 2015 the company finalized its first International co-production, Kapp to Cape, a travel/adventure doc-series (4x25’ & 1x84’), that was sold in 10 territories worldwide (US, Canada, France, Spain, UK, Italy, Turkey, Mexico, Switzerland, Finland). And in 2016 the company finalized the sale of a multi awarded Canadian TV series format to a leading Mexican broadcaster. ‘At MIPCOM we present the teaser of our next production, a 10x25’ current affair Factual series, Sea Angels, based on the most controversial issue of our time: the

migrant’s crisis. The series is focused on the daily tasks of all the men and women who are working in the frontline, rescuing thousands of migrants who are fleeing from war, slavery, rape, torture, hunger. Boatloads of people pushed out to sea on a desperate journey that often turns into the deadliest route’, describes Fantastichini about the series created with the support of the Italian Coast Guard, together with the Italian Red Cross and other NGO.

Sea Angels, new factual series

Profile for Prensario

Mipcom 2017  

Mipcom 2017  

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